
Class ^ X-^QS^ 

Book , S^ __ 



GoRyri^htN^ 



COPYRIGHT DEPOSIT. 



Elementary Turning 



FOR USE IN 



MANUAL TRAINIM CLASSES 



BY 



FRANK HENRY SELDEN 



FULLY ILLUSTRATED 



Chicago — New York 
RAND, McNALLY & CO., PUBLISHERS 



3^ 



C 



UBRARY of CONGRESS 

Two Cooler Received 
JUN 12 190r 
(1 OopyncW Entry 

/0U8« «- XXCmNo. 

COPY b. 



Copyright, 1907, by Rand, McNally & Co. 



n1 



4O 



PREFACE 

n~^HE series of exercises given in this text is the 
^ result of the author's experience in teaching 
turning. Each model has been developed for the 
purpose of teaching a correct use of the tools, so 
that pupils can do excellent work without the long 
drill to acquire skill or the necessity of scraping 
where cutting tools should be used. If turning 
lathes are to be used in the school, they should be 
used properly. It is the hope of the author that 
this manual will aid such instructors as are trying 
to teach a rational method of turning. 

A careful examination of the text by one who 
understands this line of work will reveal the fact 
that the elementary principles are covered very 
completely, and yet there is not in the regular set a 
single exercise which may be dispensed with, without 
a real loss to the average pupil. 

The numerous illustrations are not only to make 
clear a way in which to do the work, but to furnish 
such a variety of similar views that the pupil will be 
certain to draw comparisons and to form an indi- 
vidual method of work. 

Although a proper study of this book will result 
in a marked degree of proficiency in turning, yet the 



6 ELEMENTARY TURNING 

greater benefit will be the training which comes from 
the constant and careful attention required to do 
this work. The aim is not technique, but power — ■ 
mental growth. 

Several of the models were suggested by those 
used in other schools. The general arrangement 
and method of treatment are entirely original with 
the author. 

But few woods are mentioned in the text. In 
fancy turning a variety of woods should be used, if 
they can be obtained. The instructor should see 
that each pupil acquires some knowledge of both 
local and foreign woods. 



ELEMENTARY TURNING 



CONTENTS 



Preface 



PAGE 

5 



PART I 

Introduction --------- 11 

Equipment --------- 14 

Regulations ----.----. 15 

Lesson I. Placing Work in the Lathe - - 19 

Lesson II. Cylinder ------ 25 

Lesson III. Stepped Cylinder ----- 32 

Lesson IV. Left-hand Semi-bead _ - _ 35 

Lesson V. Right-hand Semi-bead _ _ - 37 

Lesson VI. Half-inch Left-hand Semi-bead - 41 

Lesson VII. Half-inch Right-hand Semi-bead - 44 

Lesson VIII. One-inch Bead _ _ _ _ 45 

Lesson IX. Half-inch Bead - - - . - 47 

Lesson X. Three-eighths-inch Bead - - 49 

Lesson XI. One-inch Cove . _ - - 50 

Lesson XII. Three-fourths-inch Cove - - 55 

Lesson XIII. Half-inch Cove - - - - '57 

Lesson XIV. Three-eighths-inch Cove - - 58 

Lesson XV. One-inch Bead and Cove - - 58 

Lesson XVI. Half-inch Bead and Cove - - 61 

Lesson XVII. Spindle with Cones - - - 62 

Lesson XVIII. Sandpapering ----- 65 

Lesson XIX. Shellacing ----- 67 

Lesson XX. Beaded Spindle _ _ _ - 69 

Lesson XXI. Polishing _ _ _ - _ 71 

Lesson XXII. Square-end Spindle _ _ _ 75 

Lesson XXIII. Curved Spindle - - . - - 81 

Lesson XXIV. Tapered Spindle - - _ _ 82 

Lesson XXV. Porch Spindle . - - _ 84 



8 ELEMENTARY TURNING 

PAGE 

Lesson XXVL Plain Box _ _ _ _ _ 86 

Lesson XXVII. Box with Knob _ _ _ _ 92 

Lesson XXVIII. Plain Goblet ----- 93 

Lesson XXIX. Goblet with Rings - - - 97 

Lesson XXX. Rosette ------ 101 



PART II 

SUPPLEMENTARY EXERCISES 

Introduction - ---___- 105 

No. I. Tool Handle ----- io5 

No. II. Gavel ------- 109 

No. III. Gavel Patterns - - - - - 112 

No. IV. Carpenter's Mallet - - - - 113 

No. V. Carver's Mallet - - - - - 115 

No. VI. Molder's Rammer - - - - 116 

No. VII. Darning Ball and Darning Hemisphere 117 

No. VIII. Glove Mender - - - - - 118 

No. IX. Plain Ring - - - - - - 119 

No. X. Napkin Ring, First Method - - 121 

No. XI. Napkin Ring, Second Method - - 124 

No. XII. Vise Handle ----- 125 

No. XIII. Wooden Screws ----- 127 

No. XIV. Large Box ------ 129 

No. XV. Box Designs ----- 132 

No. XVI. Candlesticks ----- 133 

No. XVII. Designs for Candlestick . _ - - 136 

No. XVIII. Hat Rests ------ 137 

No. XIX. Combining of Woods - - - - 141 

No. XX. Designs for Goblets - - - - 143 

No. XXI. Knife and Fork Rest - - - - 144 

No. XXII. Pin Tray ------ 145 

No. XXIII. Turned Frames ----- 147 

No. XXIV. Chair Legs ------ 153 

No. XXV. Chair Rungs and Spindles . - - 156 

No. XXVI. Footstool Leg ----- 157 

No. XXVII. Designs for Footstool Legs - - 158 



ELEMENTARY TURNING 9 

PAGE 

No. XXVIII. Footstool ------ 160 

No. XXIX. Piano Stool ------ 161 

No. XXX. Turned Stool ----- 162 

No. XXXI. Group of Fancy Turnings _ - - 163 

No. XXXII. Turned Molding - - - - 163 



PART III 

TOOLS AND FITTINGS 

Introduction _-_-__-- 167 

.Arbors ___---_--- 168 

Calipers _--_----_ 168 

Chisels .__---_--- 170 

Chucks ---------- 172 

Screw Chuck, See Chucks - - - - - - 173 

Spur Chuck, See Chucks ------ 177 

Compasses - - - - -,- - - - 178 

Dead-center _---__-- 178 

Face-plate --------- 179 

Gauges ---------- 179 

Gouges ----------181 

Lathes ---------- 184 

Oilstones ___---__- 187 

Parting Tool -------- 187 

Scraping Tools --------188 

Ring Tools, See Scraping Tools ----- 189 

Live-center, See Spur Center _ - - _ - igo 

Sizing Tool _ _ . - 190 

Spur Center -_--_--_ 190 

Templet --------- 191 



ELEMENTARY TURNING 
PART I 

INTRODUCTION 

This course in turning is intended to give ele- 
mentary exercises only. Each model in Part I is 
given with a definite purpose and should not be 
omitted. There will be little need for class demon- 
stration. Each pupil should have a book at his 
bench, and should take it home with him often 
enough to gain in advance a definite idea of each 
day's lesson. 

Each piece should be turned with care and in the 
order given, and the exercise should not be repeated. 
No matter what the plans of the pupils may be, 
much time will be saved by making each of the 
twenty models before attempting any fancy turning. 
If the first eight or sixteen pieces have been made, 
and the work is very poor, it is better to return to 
the first piece and begin again. Thus continuing the 
study of principles, rather than acquiring skill to do 
the work by mere repetition. 

Always keep in mind that turning cannot be 
done with dull tools. Do not resort to scraping the 
pieces where they should be turned. Do not use 
any sandpaper until the fifteenth exercise, and then 



12 ELEMENTARY TURNING 

use only No. |. Although this set may appear to 
consist of too large a number of pieces, a proper use 
of them will demonstrate that they are a much 
shorter and quicker road to successful turning than 
the less numerous exercises given by others. 

The methods of using tools in turning on modern 
lathes and with modern tools vary somewhat from 
the methods used when lathes were more cumber- 
some and tools not so easily obtained. In the school 
shop such tools and methods should be employed as 
will tend most to an active mental direction of the 
process, and give as little occasion as possible for 
the acquiring of skill. 

The work must be carried on in such a manner 
that there is a continuous increase in power of atten- 
tion and ability to do a given amount of work in a 
definite period of time. The papil must learn to 
keep up with the lathe, and this by developing power 
to think more quickly and accurately, rather than by 
acquiring skill. If the work is planned to develop 
skill, the result will be injurious rather than helpful. 

The material for the first exercises should be of 
pine, because it is easy to work, when the tools are 
used properly; and because any attempt to scrape 
the piece to shape is easily detected. 

One of the first things to decide in learning to 
use the lathe is whether one shall turn right-handed 
or left-handed. Either way is easily learned, 
whether one is right-handed or not. But, when the 



ELEMENTARY TURNING 13 

decision is once made, do not change. The right- 
hand position is probably the better for a large pro- 
portion of work, although the left-hand position 
seems to be easier in some of the first exercises. 

As a large part of the time is necessarily taken up 
in learning the use of the tools, you will have but 
little time for fancy turning, unless you are very 
careful to learn the correct use of your tools. You 
should be especially careful in turning the first 
pieces, for the more nearly correct you use your 
tools in the beginning, the more rapid will be the 
progress and the better will be your work. 

The first exercises are so designed that, if prop- 
erly used, they will readily give a freedom and 
certainty which is not the result of skill, but of an 
exact understanding of the process. After this 
knowledge has been acquired, a great variety of 
articles may be made in a short space of time. 

If you learn the correct use of each turning tool, 
you will be able to turn fancy articles of knotty, hard, 
or cross-grained wood. Such wood is often much 
more beautiful than that which is plain and straight- 
grained. This ability to use the tools will not be 
lost, even though you do no turning for a consid- 
erable length of time. 



14 ELEMENTARY TURNING 

EQUIPMENT 
PERSONAL EQUIPMENT 
Each pupil must provide himself with a pocket- 
rule, two-foot, four-fold; a lead pencil, one com- 
bination India oilstone, one hard Arkansas oilstone 
slip. 

The apron used in joinery may be used. A 
jumper should also be worn. 

SCHOOL EQUIPMENT 
Each drawer is provided with three skew chisels 
(1-inch, J-inch, and ^-inch), three turning gouges 
(J-inch, |-inch, and J-inch), a J-inch round nosed 
scraping tool, a 1-inch firmer gouge for roughing 
and a |-inch parting tool. Gouges for heavy work, 
and special tools for rings, etc., are provided in the 
tool room. 

STOCK 

In both Part I and Part II the stock used in 
every case, where allowable, is of the same size. 
This avoids much waste time, which would occur if 
a variety of sizes were used. Stock 8 inches long by 
1} inches square appears to be the best size for exer- 
cise pieces and also for small footstool legs. 

Goblets, napkin rings, and similar objects may be 
made from the short pieces resulting from the cut- 
ting of regular stock. Chair legs, large footstool 
legs, candlestick stems, etc., should be selected 
from the better portion of the If-inch stock. 



ELEMENTARY TURNING 15 

REGULATIONS 

in the lathe room, while the lathes are in motion, 
there is always a probability that work will be 
injured if from any cause a pupil looks up while his 
tools are cutting. It is, therefore, a matter of much 
importance that pupils should refrain from all con- 
versation, and from moving about the room. Care 
should also be taken to avoid any unusual noise in 
turning, or in starting or stopping the lathe. 

No pupil should ever borrow or lend any tool or 
piece of material. Every piece of material, including 
sandpaper, should be plainly marked with the pupil's 
name. When the work is completed, the name of 
the pupil and the date of completion should be 
plainl}^ written upon it. The work should be kept 
in the bench drawer until completed. 

The lathe should be watched, and any indication 
of its being out of order should at once be reported. 
A drop of oil should be placed on each bearing of the 
live spindle at the beginning of each recitation. 
The end of the piece bearing against the dead-center 
should be oiled when the piece is first placed in 
the lathe, and each succeeding day that the same 
piece is used. The dead-center should be carefully 
watched, and, if it becomes too warm, the tail-screw 
should be turned to loosen the work, or more oil be 
applied. In case any tool or bit of material has been 



16 ELEMENTARY TURNING 

tampered with during the absence of the pupil, it 
should be reported to the instructor at once. 

At the close of the recitation the tools must be 
put in place. Tools which require grinding may be 
handed to the instructor. Each pupil must brush 
all shavings and dirt from his lathe; and when 
cleaning the lathe care must be taken that no dirt is 
thrown on adjoining lathes. The lavatories are 
for use, and every pupil should wash his hands and 
brush his clothes before going to another recitation. 

At the close of the year each pupil may remove 
the work he has completed by paying for the mater- 
ials used, except such pieces as are needed in the 
school for exhibition. 

For each exercise a sufficient amount of material 
will be given each pupil. This material will be 
sufficient to complete the exercise properly, and only 
in very extreme cases shall more material be given. 
The first piece given must be finished as well as 
possible, even though very incorrect or under size. 
Sandpaper should not be used on any exercise until 
that exercise has been passed upon by the instructor. 

THE ILLUSTRATIONS 

The illustrations for this book represent the 
actual conditions and work of a school room where 
pupils succeed in learning to use their turning tools, 
as they are used by good workmen in practical 



ELEMENTARY TURNING 17 

turning. A large number of pupils were asked to 
pose for the views, in order to eliminate as much as 
possible the peculiarities of any one pupil, and 
illustrate general principles, applicable to all. 

In studying the illustrations, do not attempt to 
imitate them, but rather follow the principles given, 
adapting them to your own strength and tempera- 
ment. All important positions are shown from 
different sides and by different pupils. Examine 
all illustrations relating to the exercise before 
attempting to do any turning. This will lessen any 
liability to misunderstand the illustrations. 

If you have already formed habits in the use of 
turning tools, do not continue them if there is a 
better method. Often there are several ways which 
are correct, but this does not imply that any method 
will answer. Learn the best way, as it will save you 
much time and trouble. 

In many of the illustrations a part of the lathe 
centers are shown. This is to indicate the position 
of the piece in the lathe. It is a matter of consid- 
erable importance which end of a piece is on the live- 
center, and whether there is a stub at either end to be 
cut off after the work has been removed from the 
lathe. 



ELEMENTARY TURNING 



19 



LESSON I 



PLACING WORK IN THE LATHE 

There are several good methods of centering 
pieces which are to be placed between the lathe 
centers. A method seldom used is to draw diagonals 
across the end, as 
shown in Fig. 2, 
and also in Figs. 
230 and 259. 

If a common 
marking gauge is 
at hand, it may be 
set for a space a 
little less than 
half the width or 
thickness of the 
piece, and four 




Fig. 2. Finding the Center by Drawing 
Diagonals. 



lines drawn, making a small rectangle or square at 
the center. 

Another method is to draw four lines on the end 
with the compasses, as shown in Fig. 3. This is a 
very good way to do, and it is used by many turners. 
Care must be taken to have the end of one leg of the 
compasses against the bench, as the other leg draws 
the line. Hold the compasses so that one leg will 
be exactly above the other leg. 



20 



ELEMENTARY TURNING 



Perhaps the best way in which to find the center 
is to lay a piece on the bench, and draw Unes by 
moving a pencil 
along the top edge 
of the strip and 
against the piece to 
be centered, as 
shown in Fig. 4. 
The rule may be 
used [for this pur- 
pose. It sometimes 
happens that the 




Fig. 3. Using the Compasses to Find 
the Center. 



cleat on the bench-hook is just the correct thickness 

for use in centering. 

After the piece has been properly centered, 

place one end against the liv^e-center, the left hand 

holding the 
end nearest 
to the dead- 
center (Fig. 
5). Then 
grasp 
the hand 
wheel, and 
turn the 

Fig. If.. Finding the Center with Pencil and Strip. 

the tail- 
stock until both centers have been forced into the 
piece sufficiently to hold it securely, while it revolves 




ELEMENTARY TURNING 



21 



against the tools (Fig. 6). Next loosen the tail- 
screw so that you can put a little oil into the 
depression 
made by the 
dead-center 
(Fig. 7). The 
oiling must 
not be done 
while the 
lathe is in 
motion. Fig. 5. Placing aPieceBetweenthe Lathe Centers. 

Retighten the 
tail-screw, making 
it as tight as it can 
be, and allow the 
spindle to revolve 
freely. By placing 
the hand on the 
cone pulley, as in 





Fig. 6. Tightening the Tail-screw 

Fig. 10, and revolving 
the live-center while 
adjusting the tail- 
screw, the proper ten- 
sion can be deter- 
mined. After the 
dead-center has been 
adjusted, turn the 
clamp screw handle. 




Fig. 7. Oiling the Dead-center. 



22 



ELEMENTARY TURNING 



H, Fig. 8, until it is tight. This is to hinder the 
dead-center from moving away from the work. 

Do not use a mallet 
to drive the piece on to 
the live-center, for it is 
quite as essential that 
the dead-center form a 
good bearing, as that 
T^- a m- 1,. • ^i. m o the live-center be forced 

Fig. 8. Tightening the Clamp Screw . . ^ ^ ^^ ^^.k^ 

into the piece. 
Revolve the piece until a line through the two 
opposite corners will be horizontal. - Loosen the 
set screw, A, Fig. 9, and adjust the tee rest until the 





Fig. 9. Setting the Tee Rent. 

top is on a level with this line. Use the rest at the 
same height for all turning similar to the twenty 
exercises. Very tall pupils may use the rest a little 
above the center, and very short pupils may use the 



ELEMENTARY TURNING 23 

rest a little below the center. Each one should 
determine at the beginning the proper height, and 
not change it for any of the twenty exercises. It 
should remain at the same height for both skew 
chisel and gouge turning. 

The rest should be as close to the wood as will 
allow the piece to revolve. After you have become 
familiar with the use of the tools, the rest need not 
be moved up to the piece after it has been turned to 
a cylindrical form; but in turning the first exercises, 
it will probably be better to move the rest close up to 
the piece, as soon as it has been made cylindrical. 
Sometimes the ends will remain square, and you will 
be obliged to turn while the rest is at some distance 
from the part you are cutting. 

In advanced turning the rest will need to be 
adjusted to a variety of positions; and in some cases 
the height will have to be changed, but for all ordi- 
nary turning the rest should be kept at the same 
height. 

Before placing any piece of wood in the lathe it 
should be carefully examined. Small defects, such 
as worm holes and sap, need not be considered in the 
first exercises. Small knots are usually not difficult 
to work in the lathe, and pieces containing them 
should not be discarded. Wain at corners does no 
harm, if it is not so large that the blank will not form 
a cylinder the full size of the piece. 



24 ELEMENTARY TURNING 

The one defect that must be carefully wajbched is 
shake. Sometimes pieces, which at a glance appear 
all right, on close inspection will be found to contain 
latent checks which render them unfit for turning. 
These seams or shakes sometimes allow the piece to 
separate as it revolves, spoiling the exercise, and 
wasting time. Usually, the best end of the blank 
should be placed on the live-center, as this center 
tends to split the wood. 

Before removing the piece from the lathe, make 
a pencil mark, as shown in Figs. 9 and 10, on the 
end to correspond with the mark on the live-center, 
so that after the piece has been removed from the 
lathe, it can be replaced exactly in the same position. 

Before starting the lathe, examine the belt to 
see on which step of the cone pulley it is running. 
For these exercises it should be on a step that will 
give about 3,500 revolutions per minute. Larger 
work should not be revolved so rapidly. If the 
piece is of an irregular shape, it should not be 
revolved at so great a speed until it has been turned 
down to a cylindrical form. 

CAUTION 

If you wish to stop the lathe, do not do so by 
grasping the work, but place your hand on the cone 
pulley, after the belt has been shifted to the loose 
pulley. If, for any reason, you wish to touch the 
work while it is revolving, bend your finger, as is 



ELEMENTARY TURNING 



25 



shown in Fig. 10, and allow only the end of your 

finger to touch the 

piece. To grasp the 

piece, even though it 

may be quite smooth, 

is not the proper 

thing to do. Do not 

attempt to touch it pig. 10. Stopping the Lathe and Test- 
on either the upper ing the Surface. 

or the lower side, but always use the end of one 
finger against the back side. 




LESSON II 

CYLINDER 

The stock for this and the nineteen following 
exercises should be 8 inches long by If inches square. 
This exercise is to teach the use of the roughing 




Fig. 11. The Cylinder. 

gouge, and some of the uses of the skew chisel. Be 
sure to have in mind what is said in Lesson 1 about 
putting the work in the lathe and adjusting the rest, 



26 



ELEMENTARY TURNING 



etc. After you are certain that everything is all right, 
slowly shift the belt so that the piece will revolve. 
Fig. 184 shows the left hand grasping the belt shifter. 

Take the posi 
tion shown in 
Fig. 12, with the 
hands and 
roughing gouge 
held as in 
Fig. 13 or 14. 
Whether the 
position taken 
is similar to that 
in Fig. 13 or 14 
is not important, 
In the latter, the 
hand is turned 
to hinder the 
shavings from 
striking the face. 
By comparing 
Figs. 20, 41, 44, 
47, 53, etc., it will 
be observed that 
the fingers of 
the left hand are 
used in a variety 
of positions. 

This is because ^^'y-^^- Positmn While Using a Roughing Gouge. 




ELEMENTARY TURNING 



27 



the jar of the lathe tends to numb and tire them if 
they are used long in exactly the same position. 

The points to be kept in mind are : First, the tools 
must be firmly held; second, some part of the hand 
or fingers should come in contact with the rest; 
third, the angle should be such that the tools will 
cut rather than scrape; fourth, the tool should be 
firmly held 
upon the tee 
rest, and also 
upon the 
piece which 
is being 
turned; fifth, 
the angle 
which the 
tool makes 
with the line 
of the cent- 
ers is very 

important ^^^' ^^' ^^^^^ Roughing Gouge. 

and must be carefully determined for each tool and 
each piece of work. 

By comparing Figs. 13 and 14 you will see that 
the roughing gouge is held at right angles to the cen- 
ters, and at as oblique an angle vertically as will 
allow the cutting edge to enter the wood. Be sure 
that your gouge is sharp. Read carefully what is 
said in Part III in regard to sharpening gouges. 




28 



ELEMENTARY TURNING 



Do not attempt to cut the piece rapidly, but 
rather see how fine and how even you can cut the 
shavings. Move the gouge the entire length of the 
piece. If the piece were longer, you would turn 




Fig. 14' Hand Shiekling Shavings from the Face. 

down a place at one end, and then little by little work 
towards the other end, finishing a small part of the 
surface each time you move the gouge from left to 
right, as in turning the table leg (Fig. 237), 



ELEMENTARY TURNING 29 

After you have cut off a little of the piece, stop 
the lathe, as shown in Fig. 10, and examine the work 
to see how much has been cut away, and whether the 
gouge is cutting smoothly or tearing the surface. 
Study the positions of the tools in Figs. 12, 13, 14, 
100, and 113. 

If the roughing gouge is held properly, it will cut 
quite smoothly, as the shape of the end of the gouge 
is such that a shaving is cut. Should you use a 
turning gouge for roughing, you would discover that 
it does not cut as freely nor as rapidly, and, hence, 
the common firmer gouge is used in turning as a 
roughing gouge; or else a turning gouge is ground 
like a firmer gouge. 

In days gone by, when tools were more expensive 
and labor cheaper, the turner used as few tools as 
possible, and therefore used his large turning gouge 
for roughing. At present such a use of the turning 
gouge must be considered very much out of place. 
Should the wood to be turned be so rough or knotty 
that the light gouge might be broken, it would be 
proper to use the heavy turning gouge. 

In roughing the edges of pieces on the face- 
plate, as shown in Figs. 124 and 125, the turning 
gouge is always used. Continue using the gouge 
until the piece is cyhndrical the entire length. The 
gouge will not produce a straight finished surface 
no matter how carefully used. To give the work the 
even, glossy surface, a turner's skew chisel is required. 



30 



ELEMENTARY TURNING 



For smoothing work of this size, a 1-inch skew 
chisel may be used. It should be held as shown in 

Fig. 15, 16, or 
17. Each of 
these views 
shows the skew 
chisel held at 
a slightly dif- 
ferent angle. 
Also see Figs. 
27 and 29. 

When the 
skew chisel is 
held as shown 
in Fig. 16 or 17, the point is not as liable to catch 
and injure the work, but it will not cut so smoothly, 
and will dull much more rapidly, especially if the 

piece is cross-grained. 
Begin by holding it so 
that the cutting edge is 




Fig, 15. Smoolhing a Cylinder 
(See Figs 16 and 17). 




Fig. 16. 
Using a 
Skew 
Chisel. 



Fig. 17. 



a Skew Chisel (See Figs. 15 and 16). 



ELEMENTARY TURNING 31 

at quite an angle to the center line of the piece 
(Fig. 16 or 17), and gradually change the position 
at which you hold it, until the cutting edge is nearly 
parallel to the center line (Fig. 15). 

Observe carefully that the skew chisel is held as 
shown in Fig. 16 while cutting toward the left, and 
as shown in Fig. 15 or 17 while cutting toward the 
right. It is very important that you change the 
position of the chisel in this manner, for it not only 
rests upon the tee rest, but also upon the piece be- 
ing turned; and if you attempt to cut at the end of the 
piece with the chisel, unsupported by the wood, it 
will be quite sure to go deeper than you wish, and 
may spoil the piece. 

Try to make the surface of the cylinder smooth, 
practicing near the right-hand end. Then smooth a 
space about IJ inches long at the left-hand end. As 
this is your first piece, you will probably not be able 
to make the piece smooth and straight its entire 
length, but you should make it quite smooth near 
the left-hand end. Do not attempt to smooth the 
ends of this, or any other piece used for the first 
twenty exercises. On pieces of this character the 
ends are not usually smoothed; and if they were to 
be smoothed, the operation would be found to be 
quite difficult. Remember that none of the first 
sixteen exercise pieces are to be sandpapered. 



32 ELEMENTARY TURNING 

LESSON III 
STEPPED CYLINDER 

Use the piece worked to a cylinder in Lesson 2. 
Set the rest close to the piece, and with the rule and 




Fig. 18. Stepped Cylinder. 

pencil, as shown in Fig. 19, make a mark, while the 
lathe is in motion, one inch from the left-hand end. 
With the acute point of the skew chisel cut a small 
groove at the place marked by the pencil. Hold 
the skew chisel as shown in Fig. 39. 




Fig. 19. Markuuj Sijulv^ ivith a Pencil. 

These inch spaces may be marked by using the 
chisel, as shown in Fig. 31, instead of the pencil. 



ELEMENTARY TURNING 



33 



The pencil is better and easier at first. After you 
have become more famiUar with the lathe and tools, 
you can use other methods for marking spaces. 

After you have made a mark and cut a groove 
with the skew chisel, remove about y^ inch in thickness 
of material from the right-hand end of the piece up 
to the mark. Do not attempt to turn off this waste 
with the skew chisel, but use the roughing gouge, 
holding it as 
shown in Fig. 
13, until it 
is near the 
groove; then 
roll the gouge 
so that t he 
corner will cut 
close to the 
shoulder, as 
shown in Fig. 
20. 

After the 

roughing gouge has been used, hold the skew chisel 
as shown in Fig. 15, 16, or 17, and smooth the smaller 
part of the cylinder in the same manner as described 
in Lesson 2 for making a cylinder. 

In order to true the surface close up to the 
shoulder, the handle of the skew chisel should be 
lowered until the obtuse corner of the cutting edge 
completes the cut (Fig. 21). The tendency is to 




Rolling the Roughing Gouge 



34 



ELEMENTARY TURNING 



roll the handle instead of lowering it. This should 
not be done for it is quite certain to cause the corner 
to cut too deeply. Should you wish to smooth the 
surface to the right hand, do not forget to change 
the skew chisel to the position shown in Fig. 15. 
While smoothing towards the left hand of each part, 
hold the chisel as shown in Fig. 16. Continue mark- 
ing off inch spaces and 
cutting steps, until the 
piece has the shape 
shown in Fig. 18. 

It is not so essential 
that each step be exact- 
ly ^ig inch, as that the 
surface between the 
steps be exactly straight 
and smooth. Should 
you be obliged to make 
the large ends less than 
If inches in diameter. 
Fig. 21. SmoothingUp to a Shoulder, the steps may be only 
sV inch. Be careful to cut no deeper with the point 
of the skew chisel than the amount of the step, for 
any mark at this place left in the finished piece 
shows badly. 

Before presenting the piece for inspection, write 
your name and the date on the surface, near the large 
end. Do not forget to mark the end so that it can 
be replaced in the same position on the live-center. 




ELEMENTARY TURNING 35 

LESSON IV 

LEFT-HAND SEMI-BEAD 

This exercise is turned in the same way as the 
stepped cyhnder, and then the curves are cut to the 
shape shown in Fig. 22. To work these curves, the 
skew chisel is laid on the piece the same as in smooth- 
ing a cylinder (Fig. 16). The right hand is then 
raised in a curve so that the chisel cuts a little nearer 
the obtuse angle as it approaches the inner end of 




Fig. 22. Left-hand Semi-bead. 

the curve (Fig. 23). As the movement is finished, 
the chisel cuts at the extreme obtuse corner, and 
instead of a shaving being cut, a small ring is 
formed, which breaks in two as it is crowded against 
the square end of the adjoining semi-bead. 

Do not attempt to cut thick shavings, but pro- 
portion the material so that each shaving will be of 
sufficient size to cut easily. Try to take the last 
shaving from the whole surface being shaped. 

There is always danger of resting the skew chisel 
on the work so heavily that it will follow the grain 
of the wood, and the pieee be turned out of round. 



36 



ELEMENTARY TURNING 



In case the skew chisel is jarred by the revolving of 
the piece, bear more firmly upon the rest. Some- 
times this jarring is stopped by holding the chisel 
more nearly straight with the work. Compare 
Fig. 15 with Figs. 16 and 17. 

When the piece is cross-grained, the skew chisel 
must be held nearly straight, as shown in Fig. 15. 




Fig. 23. Turning a Curve. 

If your tools are properly sharpened and correctly 
used, the work will be quite smooth, even though 
the piece is cross-grained. 

It is not so much practice to gain skill, as it is a 
careful study to gain a correct knowledge of the 
proper methods of using the tools that will give 
success in this work. 

If the chisel catches, do not think that it is 
because of the grain of the wood or because the 
chisel is not held with sufficient force, for it is quite 



ELEMENTARY TURNING 



37 



probable that the cause of the trouble is the angle 
at which the chisel has been held, or you have been 
cutting too near the point. 

It is not a difficult matter to turn these curves 
by holding the 
chisel with only 
the right hand, 
as shown in 
Fig. 24; there- 
fore, study and 
use the correct 
movements. 
This figure 
shows the 

chisel in the ^^3- ^^' fuming with One Hand. 

extreme position. Usually the handle would not be 
raised so high, or the hand moved so far to the right. 
Notice that the top of the rest remains on a 
level with the lathe centers. 




LESSON V 

RIGHT-HAND SEMI-BEAD 

This exercise is the same as Lesson 4, except that 
the curves are in the opposite direction, and the last 
division is omitted to avoid hitting the live-center. 

If in turning the second exercise the skew chisel 
was held too close to the body, you will now have 
trouble with the chisel catching, because vou will 



38 ELEMENTARY TURNING 

raise it directly up, or simply revolve it, instead of 
moving the handle in a curve toward the left. In 
either case the skew chisel will frequently catch. 

By comparing Fig. 24 with Fig. 26 you will see 
how the positions differ in working the two curves. 
These pictures, although showing the angle at which 
the chisel should be held, if but one hand were used, 
show the real principle of changing the angle of the 
skew chisel in working the two sides of a bead. Fig. 




Fig. 25. Right-hand Semi-head. 

27 is the same as Fig. 26, excepting that both hands 
are used, and the chisel has not passed to the extreme 
position. 

Do not simply change your position so that you 
will be able to turn this exercise, and then take a 
different position for turning curves in the opposite 
direction, but learn to reach out far enough to turn 
curves either way without changing the position of 
your feet on the floor. If this is not done, there 
will be much trouble when an attempt is made to 
turn complete beads. 

In all these exercises and all similar light work, 
the arms should be free, never resting against the 
hip or side. 



ELEMENTARY TURNING 



39 



In turning very heavy work, sometimes the 
arm must be held against the side in order to hold 
the tool steady. Such work, however, does not 
require so frequent a change of position, and the 




Fig. 26. Turning with One Hand. 

workman can step about the lathe as often as 
required to bring his side in line with the handle of 
the tool. 

If the tools catch and the piece is spoiled, the 
exercise should not be repeated. You should pass 



40 



ELEMENTARY TURNING 



on to the next exercise. By attempting the next 
problem you will have an opportunity to see the 




Fig. 27. Using Skew Chisel. 



ELEMENTARY TURNING 41 

same difficulty from a different view point, and it may 
enable you to overcome it. Only by a study of the 
methods, instead of blindly practicing for skill, will 
you become able to do good and rapid work. To 
repeat an exercise simply to gain skill cannot result 
in a knowledge of turning, and is certain to injure 
the mind, although by such repetition you may be 
able to do some very good work. 



LESSON VI 

HALF-INCH LEFT-HAND SEMLBEAD 

This piece should be of the same diameter at 
both ends. It is not necessary to cahper it, but 
Judge its size carefully by examining it with your 

F^^ --^ '< '1 .f' -^ y'"^ 4:f"^i. r-f'^"^ .<."''*^ jf^'.-f''-"^. .v*-""*"'....-" '■'^,.*."-""'^-... -"^.^-f^^-.^^^ 



Fig. 28. Half-inch Left-hand Semi-head. 

eye only. A more accurate judgment may be 
made if the piece is removed from the lathe, and held 
up to the light. Of course, you should try to judge 
correctly while the piece is in the lathe, and with 
patient effort you will be able to do so well that you 
will 'seldom have to remove a piece from the lathe 
for examination. 



42 



ELEMENTARY TURNING 



Before attempting to mark the spaces for the 
curves, smooth the entire surface with the skew 




Fig. 29. Using the Skew Chisel. 



ELEMENTARY TURNING 43 

chisel. As the piece in this exercise is the same size 
throughout, and the spaces are but one-half inch, 
the ourves should all be alike, i. e., they should each 
be the shape of a quarter circle. 

Now that you have turned both right-hand and 
left-hand curves, you should be able to turn these 
without holding the chisel close to your body. 
Stand in such a position as will allow of turning 
either right-hand or left-hand curves without chang- 
ing the position of your body. Fig. 29 shows very 
clearly how such a position is taken. 

It frequently happens in turning the curves that 
the square end of the adjoining bead is roughened. 
This end should be cut smooth before the piece is 
considered finished. To do this, hold the skew 
chisel as in cutting at the sides of the coves (Fig. 39), 
turning the handle to the right or to the left as 
required to give the proper angle to the end, but 
do not tip or roll the tool out of the vertical posi- 
tion. If the skew chisel, when used in such a place, 
is revolved so that it cuts at a place on the edge 
above the point, it is almost certain to catch. 

After you have done your best to work each 
curve properly and they are not satisfactory, use 
the skew chisel, as shown in Fig. 16 or 17, and flatten 
each curve a little, so that you will have a flat space 
on which to lay the end of the chisel in re-cutting 
the curves. Be very careful to keep each part of 
correct size. Although size is not the most impor- 



44 



ELEMENTARY TURNING 



tant part of the exercise, yet you should begin at 
once to work as nearly to size as you can. 



LESSON VII 

HALF-INCH RIGHT-HAND SEMI-BEAD 

This is the same as Lesson 6, except that the 
curve is in the opposite direction. The same diffi- 




Fig. 30 Half-inch Right-hand Semi-bead. 

culties are met as in Lesson 5. Great care should 
be taken in this exercise to make the curve a correct 
quarter circle. 






Fig. 31. Marking Spaces with Skew Chisel. 

You should now be able to use the skew chisel 
with sufficient accuracy to mark the spaces, as 



shown in Fig. 31. 



ELEMENTARY TURNING 45 

In using the point of the skew chisel in this man- 
ner, make but a very hght mark. If you wish the 
point to cut deeper, go over the lines again after the 
rule has been removed. 

A very deep cut cannot be made except by cutting 
out a bit of the material, for if the point of the chisel 
is held long in one place or pressed hard into the 
wood, the friction caused will heat the point and 
color it and may injure it very much. The tools 
should not be held so hard or so long against the 
wood as to color them even at the extreme thin 
edges or points. 

Try to make the curves so even that there will be 
no mark showing where the skew chisel began to cut. 
Also be careful not to rub the skew chisel on the 
piece so hard that the grain of the wood will be 
bruised or crushed. Keep in mind that in proper 
turning the tools must cut evenly and smoothly, 
and that the surface must be glossy. When you 
have acquired the correct way of handling your 
tools, you will soon be able to work with considerable 
speed. 

In case the curves are not of correct form, cut 
them down a little with the roughing gouge. Smooth 
these places with the skew chisel, then try again to 
work the curves. 

Be careful to keep the spaces equal. After cut- 
ting the curves part way down, test the spaces with 
the rule and pencil, as shown in Fig. 19. 



46 



ELEMENTARY TURNING 



LESSON VIII 
ONE-INCH BEAD 

Be careful to work this piece to correct size. If 
a lead pencil line is made at the center of each bead 




Fig. 32. One-inch Bead. 

(Fig. 32), the turning of the bead is apt to be more 

satisfactory. 

Work carefully, leaving the pencil marks to be 

seen when the work is finished. Avoid cutting too 

deep between the beads as you mark the spaces with 

the point of the chisel, 
and also as you turn 
the beads. 

Turn from two ad- 
joining beads down 
to the central space, 
taking a shaving first 
from one bead and 
then from the other 
(Fig. 33). This is 

Fig. 33. Turning a Bead. . . , ^ ^ , 

much better than 
turning both sides of a bead at once, as this 




ELEMENTARY TURNING 47 

requires the making of a square shoulder at the 
adjoining bead. 

When the turning is finished, there shouhi be no 
unevenness between the beads. The curves of the 
two adjoining beads should exactlj^ meet. Any 
roughness at this point hinders the giving of a proper 
finish to the piece. Even though the piece is not to 
be sandpapered or shellaced, the work should be 
done as if it were to be finished in this manner. 



LESSON IX 

HALF-INCH BEAD 

This exercise is based on the same principle as 
is given for the one-inch bead. The curves are 




Fig. 34. Half-inch Bead. 

somewhat steeper, and should be turned with 
greater care. These beads should be turned evenly, 
and without any roughness or mark between them. 
When the exercise is finished, the beads should 
be of the same size. If some are of greater diameter 
than others, cut them down, but do not cut them 
entirely off. Then try again. 



48 ELEMENTARY TURNING 

There is quite a tendency in making these beads, 
to make some much wider than others. Test them 
often with the rule. If you are careful to cut a 
shaving of equal thickness from each side of the 
line, the beads will be of the same size. 

As the beads decrease in size, the swinging of the 
chisel by the right hand is less, yet you must not 
hold it in the same line and simply turn it. The 
large curves are given to teach this swinging motion 
of the right hand, and if you are to become able to do 
good and rapid turning, you must continue to use 
this motion. It is the same in kind, though differ- 
ing in degree, no matter what size of curve you 
are turning. Without this swinging motion or 
changing of the angle which the tool makes to the 
line of the lathe centers, the end of the chisel is not 
properly balanced between the work and the shav- 
ing, and must catch and injure the piece, unless the 
chisel is held in position by main force. To apply 
so much strength is often quite difficult or impos- 
sible. Even if you are able to do so on these prac- 
tice pieces, you will find great difficulty in applying 
so much strength in turning things for use. 

Do not make the mistake of attempting to do 
the turning by taking so very fine a shaving that 
the chisel will not catch, although it is not held at 
the proper angle. Such work is only a kind of 
scraping and can never result in doing good work 
or in learning to turn. 



ELEMENTARY TURNING 



49 



The peculiar conditions of grain, etc., are certain 
to make trouble for you, unless you learn the correct 
method, of using the chisel. When the chisel is used 
correctly, you will find it quite an easy matter to 
turn cross-grain, knots, and almost any sort of a 
piece. 

LESSON X 

THREE-EIGHTHS-INCH BEAD 




Fig. 35. Three-eighths-inch Bead. 

This exercise is worked the same as the 1-inch 
beads and the §-inch beads. The |-inch beads may 




Fig. 36. Using a Gauge Stick. 



50 ELEMENTARY TURNING 

be cut with the J-inch skew chisel. This size bead 
is probably used more than any other in the regular 
turnings for stair and porch work. 

To make all the divisions exactly | inch is quite 
difficult. To assist in making these divisions, you 
may use a gauge stick, as shown in Fig. 36. Hold 
the stick firmly, and unless it fits the piece exactly, 
press it against one end, and gradually change the 
pressure until it marks throughout the length of the 
piece. Hold the stick so that the spurs point 
towards the axis line of the cylinder. The making 
of a gauge stick is described in Part 3. 



LESSON XI 
ONE-INCH COVE 




Fig. 37. One-inch Cove. 

This exercise introduces the turning gouge. For 
directions for grinding and whetting gouges see 
Part 3. Be sure that the gouge is in proper condi- 
tion before attempting to use it. 

Turn the piece to a smooth, straight cylinder. 
Lay off the spaces as indicated by the drawing 



ELEMENTARY TURNING 



51 





Fig. 39. 
Chisel. 



Cutting with Point of Skew 



Fig. 38. One-inch Cove. 

(Fig. 38). Start the 
coves by making 
cuts with the point 
of the skew chisel, 
as shown in Fig. 39. 
For turning coves 
of this size and 
smaller sizes, includ- 



ing J-inch, the 
J-inch turning 
gouge should 
be used. 

In first at- 
tempting to 
use the gouge 
for working 
coves, it is 
better to start 
the opening 




Fig. JfD. Starting Coves with Gouge. 



52 



ELEMENTARY TURNING 



by cutting out a small amount of waste material, as 
shown in Fig. 40. 

The gouge is here held in the opposite position to 
that in which it is used while cutting; the cove. This 




Fig. 41- Turning a Cove. 
is to make an opening in the surface so that it will 
not be so difficult to keep the gouge from cutting 
back of the line and spoihng the work. After the 
space has been started in this manner, it will appear 



ELEMENTARY TURNING 



53 



as in Fig. 40 or 42. To finish the cove, hold the 
gouge as shown in Figs. 41 and 42, and gradually 
move it forward and upward, until it has the position 
shown in Figs. 43 and 44. Then place the gouge at 
the other side of the cove, and move it in the same 
manner. 

Continue to repeat these movements, cutting a 
shaving alternately from each side, and each time 
making the cove a 
little deeper, until it 
is of the proper depth. 
Always strive to have 
the shavings from 
each side meet at the 
center, so that there 
will be no unevenness 
where they come to- 
gether. This is really 
the most difficult part 
of the work in turning 
coves. If the gouge is used properly, the finished 
piece will have the appearance shown in Fig. 37. 

If the gouge passes beyond the center it will 
scrape the wood instead of cut it, and will be soon 
dulled. 

If the gouge catches in starting, it is probably 
caused by not holding it so that it cuts at the extreme 
point, as indicated by the sketch Fig. 45, and illus- 
trated in Fig. 47. 




Fig. 42. Turning a Cove. 



54 



ELEMENTARY TURNING 



The common mistake in the use of the gouge is 
the failure to lower the handle so that it will cut 
near the top of the piece as it reaches the center of 




Fig. J^3. Turning a Cove. 



the cove. If the handle is not lowered but rolled, 
the gouge will scrape instead of cut. It will be 
quickly dulled if it scrapes, and the cove will be 
rough instead of smooth and bright. 



ELEMENTARY TURNING 



55 



The correct shape of the cove may be secured by 
this scraping mo- 



tion, but it will not 
be good work, and 
it will be easily 
distinguished from 
work which has 
been properly 
done. There is no 
reason why this 
work should be 

done by scraping, Fig. U- Turning a Cove. 

as it is not a difficult matter to 
learn how to do it properly; and 
when the proper way is once 
learned the work can be done 
much faster in the right way than 
Fig.45. Starting Gouge, it can be done in the wrong way. 





LESSON XII 

THREE-FOURTHS-INCH COVE 

This exercise is similar to that given in Lesson 11. 
The difference being that the coves are but | inch. 
The spaces between the coves are each J inch. The 
straight parts between the coves are not worked 
after the piece is spaced for cutting the coves. 
Therefore, the cylinder should be very carefully 
smoothed before marking the spaces. These coves 



56 



ELEMENTARY TURNING 



should be exactly § inch deep, and each should be 
an exact semi-circle. It is as great a mistake to 
make the coves too deep as it is to leave them too 







V4 



Fig. 46. Three-fourths-inch Cove. 

shallow. One who has made the 1-inch cove 
correctly, as given in the previous lesson, should 
now be able to make these coves of correct shape 
and size. 

You can try using the gouge without first cutting 
back from the line, as in Fig. 40, if you wish. The 




Fig. Jf.7. Starting the Cove. 

proper position for starting the cut in this manner 
is shown in Fig. 47. The handle is moved from the 
upper to the lower position, the same as shown in 
Figs. 41 and 43. Care must be taken to keep the 



ELEMENTARY TURNING 57 

gouge from bruising the corner and making the cove 
too wide. 

In order to avoid bruising the edge&, a light 
cut should be taken at first. 



LESSON XIII 
HALF-INCH COVE 

In this" piece the coves and the spaces between 
them are each J inch. 

The work required in making J-inch coves is the 
same as given in Lessons 11 and 12 for making the 



Fig. Jf.8. Half -inch Cove. 

1-inch and the f-inch coves. Because these curves 
are smaller, you will need to be more careful to make 
them of correct size and shape. 

You should now be able to cut the curves so 
nicely that there will be no marks left from the 
point of the skew chisel at the edges of the flat parts. 
The bottom of each cove should be so smooth that 
you cannot see the point at which the shavings from 
each side meet. 



58 ELEMENTARY TURNING 

LESSON XIV 
THREE-EIGHTHS-INCH COVE 

The piece for the |-inch coves should be turned 
with the greatest care, as it is the last of the cove 
exercises. Be sure that the cylinder is of full size, 
and that it is also very smooth and straight before 




Fig. Jf.9. Three-eighths-inch Cove. 

cutting the coves. The spaces between the coves 
are each | inch. 

Some may prefer the }-inch gouge for this size 
of cove, yet a |-inch gouge will do the work better 
if it is correctly used. This piece may be spaced 
with the gauge stick used for the |-inch beads, as 
shown in Fig. 36. 

LESSON XV 

ONE-INCH BEAD AND COVE 

Turn first the coves as indicated by the dotted 
lines of the drawing (Fig. 51), cutting straight down 
to the point where the curves will be joined when 
the bead is turned. Be careful to finish the coves, 
as shown in Fig. 52, before attempting to turn the 
beads. 



as 



ELEMENTARY TURNING 59 

The beads may be worked either with the gouge, 
shown in Fig. 53, or the chisel may be used, as in 




Fig. 50. One-inch Bead and Cove. 

Figs. 23, 33, and 54. Whether the skew chisel or the 
gouge would be used by the practical turner would 
be determined by circumstances. For ordinary 




Fig. 51. One-inch Bead and Cove. 

cheap work the gouge would probably be better, as 
it would avoid a change of tools, and the gouge can 
be used more rapidly. For very fine work the skew 
chisel must be used. 
In making this 
piece two of the 
beads maybe turned 
with the gouge, and 

two of them with Fig. 52. Bead and Cove, Coves Completed. 

the skew chisel. After the tools are understood, there 
will be many opportunities for the pupil to deter- 
mine which tool to use for a certain piece of work. 




60 



ELEMENTARY TURNING 



If the piece is to be highly finished, use the tool 
that will do the smoothest work; if the finish on the 




Fig. 53. Turning Bead with Gouge. 

piece is not important, use the tool that will do the 
work in the least time. 

Do not forget that it is a great waste of time to 
use a tool in such a manner as will dull it rapidly, 




Fig. 5Jf. Turning Bead with Skew Chisel. 

even if by such a use a part of the work may be done 
more quickly. 

One of the chief errors of this nature is the use 
of chisels and gouges for scraping instead of holding 



ELEMENTARY TURNING 61 

them so that they will cut shavings. Such a use of 
these tools dulls them very rapidly, because the 
wood revolves across the cutting edge, and is torn 
off instead of being cut. 

LESSON XVI 

HALF-INCH BEAD AND COVE 

This exercise is similar to the previous one. The 
coves and beads are each h inch. If the coves are 




Fig. 55. Half-inch Bead and Cove. 

made J inch deep, the curves will all be half circles. 
Be careful to cut the coves to exactly the correct 
depth. 

Fig. 56 shows the piece with the coves finished. 
Notice that they are 
straight down at each * ^^ •- ' ^ ^' 




side for \ inch, and that 

the bottom is an exact Fig. 56. Half-inch Bead and Cove, 
J-inch semi-circle. Coves Completed. 

If you are very particular to make the coves in 
this manner, you will find it much easier to work 
the piece to a correct shape. If you are careless 
about making the coves, and especially about cut- 



62 ELEMENTARY TURNING 

ting the sides square down to the depth of | inch, 
you will experience much difficulty in turning the 
beads so that they will be of proper size and shape. 
You will also be obliged to widen the coves, and in 
so doing you may have considerable trouble to make 
them of correct size. This style of turning was used 
a great deal at one time, as it could be done very 
rapidly after the turner had learned the necessary 
motions. These movements would often be learned 
by continued practice without any attempt to learn 
the general principles of turning. 

LESSON XVII 
SPINDLE WITH CONES 

Fig. 57 indicates the shape of the spindle with 
cones, but the size of the various parts may be modi- 




Fig. 57. Spindle with Cones. 

tied to suit the judgment of the individual student. 
The general plan of the illustration should be fol- 
lowed. There should be the same number of beads, 
and they should be similar in size and location. 
The two halves should be exactly aUke, and the parts 
between the two center beads and the two end beads 
should be perfect tapers. 



ELEMENTARY TURNING 



63 




As the two ends are to be exactly the same size, 

you should measure their diameter with the calipers. 

Adjust the calipers, as directed in Part 3. Hold 

them as shown in Fig. 58. 

Do not force them on to 

the piece. They should 

simply touch the two 

sides so lightly that they 

will not mar the surface. 
At first, you had bet- 
ter stop the lathe while 

using the calipers. After 

you have become accusr 

tomed to using them, 

you can do so while the ^''^- '^- ^''""^ ^«^^>^^- 

lathe is in motion, if the ends of the calipers are 

of proper shape. 

Before using the calipers read what is said in 

Part 3, about shaping the ends for use in wood 

turning. 

Turn the entire piece 
to a cylinder with the 
roughing gouge, and 
carefully smooth the 
surface near each end 

with the skew chisel. Turn one bead at each end, 

as shown in Fig. 59. 

This piece is to be finished with two coats of 

shellac, applied with a brush, and, therefore, there 




Fig. 59. Two Beads Turned. 



64 



ELEMENTARY TURNING 




Fig. 60. Center Sized. 



must not be any sharp corners which will be rubbed 
white when sandpapering for the second coat of 
shellac. Care must be taken that there is no mark 
left by the point of the obtuse corner of the chisel 
at the bottom of the grooves or on the sides of the 
beads. The upper corners of the small spaces at 
each side of the end beads 
should be carefully 
rounded, and the spaces 
should not be too deep to 
be smoothed with sand- 
paper. If there is any 
space that will gather the finishing material, and is 
so narrow that the finish cannot be rubbed out, it 
will injure the appearance of the piece. 

Keep in mind as the plan is made for the beads 
and curves, just how the various angles will be sand- 
papered and finished. After each end has been 
finished, turn the piece small at the center, as shown 

in Fig. 60. Use the 
roughing gouge for doing 
this. The size at the 
center should be the 

^ , ^ , diameter of the two 
Fig. 61. Center Beads Turned. , , , ™ ,, 

center beads, iurn the 

center beads, finishing them smoothly at each side, 

being careful not to cut the groove between them too 

deep (Fig. 61). Finish the piece by turning the conical 

part at each side, finishing with the skew chisel. 




ELEMENTARY TURNING 



65 



The surface of these two cones should be very smooth 
and straight. The appearance of the finished piece 
should be as shown in Fig. 55. 



LESSON XVIII 



SANDPAPERING 



For the work in turning, several grades of sand- 
paper are required. For smoothing the exercises 
given in Lessons 17 to 25, No. J or No. should be 
used. To pro- 
duce a very 
fine finish, use 
coarse paper 
at first, and 
then each 
finer grade in 
order, until 
the required 
finish has been 
obtained. No. 
00 should pro- ^^-^^^ S'^'^Vapering. 

duce a finish fine; enough for any school work. The 
sheet of sandpaper should be torn by using the saw 
the same as in tearing sandpaper in joinery. Usu- 
ally, it is best to begin by using pieces but one-eighth 
of a sheet in size. After some practice in using small 
pieces, the one-fourth-of-a-sheet pieces may be used. 
Usually the paper should be folded double. Move 




66 



ELEMENTARY TURNING 



the rest out of the way, or remove it entirely before 
beginning to use the sandpaper. 

Hold the paper in both hands, as shown in Fig. 
62, always keeping the paper moving from end to 
end, over the part being smoothed, so as to avoid 
scratching the surface of the work. The less the 
paper is moved about, providing it does not scratch 
the work, the better. 

In using a fine grade of sandpaper, you can hold 
it beneath the work, as shown in Fig. 63. This 
admits of a better view of the piece. It is not a 

good plan to use 
very coarse paper 
in this manner, as 
the dust from the 
wood gathers on 
the surface of the 
paper and hinders 
the flint from cut- 
ting. In using the 
finer grades, the 
dust is sometimes 
an advantage, as it causes the sandpaper to cut 
slower and smoother. In any use of sandpaper, be 
careful not to throw any more of the dust into the 
air than is really necessary. 

In sandpapering beads, the edge of the folded 
paper is used, as shown in Fig. 64. As often as the 
edge becomes worn out, another fold is made. Each 




Fig. 



Sandpapering. 



ELEMENTARY TURNING 



67 



time a new fold is made, it should be near the worn 
one, so that the paper will be used evenly. 

In working around beads or curves of any sort, 
the sandpaper 
should be 
given a twist- 
like motion, 
in order to 
preserve the 
shape of the 
curve. Sharp 
edges or deep 
V-shaped cuts 
are neither 
easily sand- 
papered nor finished, and should, therefore, be 
avoided as much as possible. The design should be 
arranged so as to avoid such places. 




Fig. 64. Sandpapering Beads. 



LESSON XIX 

SHELLACING 

Shellacing of turned pieces may be done with 
either a brush, or with a polishing pad or a cloth. 
When the brush is used, the principles involved are 
the same as those in using the brush on hand-work. 
One or more coats may be applied, rubbing each 
with sandpaper or pumice stone. 



68 



ELEMENTARY TURNING 



In applying the shellac with a brush the piece 
must not be revolved at full speed of the lathe, 
but simply turned by taking hold of the belt with 
the hand and pulling, while the brush is held against 
the work with the other hand, as shown in Fig. 65. 




Fig. 65. Shellacing. 

In sandpapering the coats of finish, much care 
must be taken to avoid rubbing entirely through the 
finish. This is especially liable to occur at the top 
of beads and at corners. The principle is really the 
same as in sandpapering hand-work, the apparent 



ELEMENTARY TURNING 69 

difference being caused by the speed of the lathe. 
Often you will have better success if you change the 
belt to a much slower speed. 

There is also a tendency to burn the work, 
because of the heat resulting from the friction of 
the paper with the surface revolving so rapidly. 
The burning of the wood is not so apt to occur, if 
the finish is ground down with pumice stone and oil. 
Grinding the finish in this manner is not a very 
difficult task. Use a cloth or a bit of waste for a 
grinding pad. Place on the pad a small amount of 
oil and pumice stone. Ordinary machine oil may 
be used, but regular rubbing oil is better. Examine 
your work often, lest you grind off too much of the 
finish. Use plenty of oil and plenty of pumice 
stone, for, unless the pad is kept moist and well 
supplied with pumice stone, it also will burn the 
work. It should be moved about, similar to sand- 
paper. 

LESSON XX 
BEADED SPINDLE 




Fig. 66. Beaded Spindle. 

After roughing this piece, locate and turn the 
central bead, as shown in Fig. 67. Do not make 



70 



ELEMENTARY TURNING 




Fig. 67. Center Bead Turned. 



the cuts at the sides of the beads too deep, for this 
piece is to be poUshed, and it is very difficult to 
polish to the bottom of deep cuts. Start the long 

curves at each side 
of the bead, being 
careful that the 
highest point is not 
too far away from 
the bead. 

Next, turn the ends to size with the roughing 
gouge and smooth about IJ inches on each end 
with the skew chisel (Fig. 68). Although the ends 
have a shorter diameter than the bead which is at 
the center, yet the 
difference in dia- 
meter is not great, 
and unless you 
stop to think care- 

r 11 I, ^ ^u • Fig. 68. Ends Sized. 

fully what the size ^ 

should be, you will probably not succeed in making 

a well-shaped piece. Study carefully the size for the 

ends before turning the end beads. 

After you have determined upon the sizes, turn 

the four beads 
(Fig. 69). The 
diameter of these 
beads is not the 
only dimension to 

End Beads Turned. be considered. 





ELEMENTARY TURNING 71 

After you have completed the beads, turn the long 
curves to near the finished size with the roughing 
gouge. They should then be finished with the skew 
chisel to the shape shown in Fig. 66. 

This and the following exercise give an abundance 
of opportunity for individuality in work. . These 
curves are similar to those used in various classes of 
high grade commercial turning, and, when properly 
understood, they furnish the basis and material for 
designing an unlimited number of forms. These 
typical forms should be thoroughly studied, that they 
may be modified or combined into new designs in the 
construction of ornaments, pieces of furniture, etc. 

LESSON XXI 
POLISHING 

To do the best grade of polishing in the lathe, 
requires constant practise and much skill. A care- 
ful study of the principles involved will make possi- 
ble, almost from the first, the doing of fair work by 
nearly anyone of ordinary ability. 

Use only the best shellac. Place a Uttle on a 
cloth, as shown in Fig. 70. Use the brush and dish 
used in joinery. Fold the cloth and hold it beneath 
the piece as shown in Fig, 71. Move the cloth about 
similar to sandpapering, working the shellac into the 
depressions, being careful not to rub too hard upon 
the exposed places. The probabiUty is, that the 



72 



ELEMENTARY TURNING 




Fl(j. 70. Placing Shellac on Cloth 



rubbing will not be steady or hard enough, but there 

is danger of rubbing too hard. Only by experience 

can the amount of pressure 

be determined. Ridges may 

be removed sometimes by 

an increase of pressure, and 

sometimes the pressure is 

made so great that the 

finish is removed or turned 

black. 

Watch the surface very 

carefully and keep in mind 

that if too much finish is 

applied, or if it is not 

properly rubbed in, it may all be removed by the 

use of pumice stone and oil, except such places as 

have been 
burned. Moist- 
ening the cloth 
with alcohol 
will sometimes 
help to remove 
the ridges. 

As soon as 
the cloth be- 
gins to stick 

or pull, a very 
Fig. 71. Polishing loith Cloth. j.^^j^ ^.^ ^^^^^ 

be applied to the face of the cloth to keep it from 




ELEMENTARY TURNING 



73 



roughing the finish. The oil does the finish no good. 
In fact, the more oil the poorer the finish, but oil 
must be used to keep the cloth from sticking. 

Some people use the ordinary lubricating oil 
from the can used about the lathe, but raw linseed 
oil is used where much polishing is done. For the 
finest grade of work, rub a Httle raw linseed oil on 
the surface before applying the shellac and use more 
oil during the rubbing if needed. After the polish 
has been rubbed 
to a smooth, even 
gloss, rub with 
olive oil and then 
with a clean cloth 
or the hand, bare- 
ly moistened with 
alcohol. 

A pad com- 
posed of cotton 
batting or a piece 
of polishing felt used under the cloth, as shown in 
Fig. 72, is sometimes of great advantage, but for 
the present work it is not essential. 

If the grain of the wood is very open, it is neces- 
sary to fill the grain by using a filler, similar to hand 
finishing of open grained woods. By applying the 
raw Unseed oil before the final sandpapering, the 
dust from the wood will be moistened and rubbed 
into the open pores, often making a good filler. 




Fig. 72. Polishing with Pad. 



74 



ELEMENTARY TURNING 



Sometimes all that is required is to coat the piece 
with shellac, being careful to brush as much as possible 
into the grain, allowing it to dry thoroughly; after 
which it should be ground down with pumice stone 
and finished by rubbing with a cloth, coated with a 
very little shellac. Do not be satisfied until the finish 
is even and bright, and the grain is entirely filled. 

There are many methods of doing polishing in 
the lathe, and finishers differ very much in regard to 




Fig. 73. Polishing Outfit. 

the material to be used, and the method of applying 
it. It is probably not best to attempt any but the 
most simple methods, with the simplest of materials 
at this time. 

One item of great importance is to keep the pad 
or cloth moist. To do this, keep it in a tightly 
closed dish. A fruit jar or tin can having an air- 
tight cover will be sufficient. 



ELEMENTARY TURNING 75 

The outfit, shown in Fig. 73, is a very gooa one. 
The can is for keeping the clotlis and pads which 
have been filled with shellac. The large bottle is 
for raw linseed oil. The smaller bottles are for 
alcohol and olive oil. The square bottle is for 
rottenstone or pumice stone, and it has a perforated 
cover. The shellac is taken from the same dish 
used in joinery. 

If the pad or cloth is opened and freshly filled 
with shellac before it is put away in the can, the 
shellac will be more evenly distributed when wanted. 
If a small amount of oil is dropped on to the pad 
with the shellac, it will generally work better than 
when applied to the surface. Some finishers mix 
various gums, also the linseed oil, with the shellac 
for polishing and for similar work. 

LESSON XXII 
SQUARE-END SPINDLE 




Fig. 74. Square-end Spindle. 

This lesson introduces the combination of round 
and square elements on the same piece. In using 
the rule to measure spaces on a piece having square 



ELEMENTARY TURNING 




Fig. 75. Marking Spaces. 

ends, it should be held as shown in Fig. 75. Never 
lay it on top of the rest, except after the piece has 
been smoothed to a cylinder its entire length, as in 
Figs. 19 and 31, as it is dangerous to do so. 




Fig. 76. Cutting in for Square End. 

Another way to determine the point for cutting 
in at the ends is to draw a pencil line across one side 
of the piece before starting the lathe, or before the 



ELEMENTARY TURNING 77 

piece has been placed in the lathe. First mark the 
distances from each end, and then with a try-square 
or with the rule, used as a straight edge, draw a 
heavy line entirely across the piece. This line will 
be visible while the lathe is in motion. 

The skew chisel is used to cut the curve at the 
square part. The first operation is to cut a deep 
groove, as shown in Fig. 76, with the point of the 
chisel. To make this V-shaped groove the point of 
the skew^ chisel must not be pressed hard against 




Fig. ?/. Hounding Corners. 

the piece, but cut lightly from the two edges of the 
V until the space is formed. 

After the groove has been made, the chisel is 
reversed, and the corner rounded with the obtuse 
angle, as in finishing a large bead (Fig. 77). See also 
Figs. 23, 27, 29, and 33. 

Care must be taken in cutting such a place, that 
nearly all the work shall be done by that part of 
the edge near the obtuse corner of the chisel. If 



78 



ELEMENTARY TURNING 



the tool turns much from the vertical position, it 
will probably catch. When the chisel is properly 
held, it will not catch, neither will there be much 
tendency for the tool to jar. 

In order to get as much practice as you can 
before attempting to finish the ends, you can cut 
several places along the central part of the piece, 
and round them the same as the ends are to be 

rounded. Do 
not make the 
square part at 
the ends too 
short. 

After the 
ends are fin- 
ished, use the 
roughing 
gouge in re- 
moving the 
waste mate- 

Fig. 78. Rolling Gouge. j.^^j from the 

central part of the piece, making it the proper size 
at the ends for the beads. Roll the gouge, as shown 
in Figs. 78 and 20, so that it can cut close to the 
corner without danger of catching. 

Next smooth the cylindrical portion with the 
skew chisel and turn the beads at the ends, as shown 
in Fig. 79. For this you will probably require the 
J-inch skew chisel. 




ELEMENTARY TURNING 



79 



With the rough- 
ing gouge shape 
the piece as 
shown in Fig. 80. 
Instead of using 
the rule and pen- 
cil or rule and 




Fig. 79. End Beads Turned. 



skew chisel for marking the position of the center 



beads, you can set the compasses 




Fig. 80. Center Sized. 



to the required 
distance, and by 
holding them as 
show^nin Fig. 81, 
make a mark on 
the piece as it 
revolves. Do 
not attempt to 
make a deep 



mark with the point of the compasses, but make a 
light line, and deepen it with the point of the skew 
chisel, as in 
Fig. 39. 

The posi- 
tion of the 
center bead 
should be de- 
termined by 

J. Fiq. 81. Spacinq with Compasses. 

measuring to ^ ^ 

its sides from each end. The two smaller beads should 

be measured from the sides of the central bead. 




80 



ELEMENTARY TURxNINCI 




First size the three beads which are at the center, 
making them square, as shown in Fig. 82; then 
round these three beads, as shown in Fig. 83. 

Complete the piece by turning the long curves. 
These curves should 
be roughed to near 
the finished size with 
the roughing gouge, 
and then shaped and „ , ^ i. ,. c- 

., , .,, ^, Fig. 82. Center Beads Roughed to Size. 

smoothed with the 

1-inch skew chisel to the form shown in Fig. 74. 
Before attempting to do any sandpapering on 

this piece, remove the rest so that the fingers or the 

hand cannot be caught between the corners of the 

revolving piece and the rest. 

If the cyHndrical portion of the piece is polished 

the same as the 
piece in Lesson 
21, the flat sides 
at the ends 
should be 
dressed smooth 
with the plane, 
and s a n d - 

papered and poUshed by hand after the piece has 

been turned. 




Fig. 83. Center Beads Turned. 



ELEMENTARY TURNING 



81 



LESSON XXIII 

CURVED SPINDLE 

This piece should first be roughed to a cylinder, 
and then the ends of the curves at the center should 




Fig. 84. Curved Spindle. 

be finished (Fig. 85). Next the piece should be 
tapered towards each end, as shown in Fig. 86, using 

the roughing 
gouge. This 
determines the 
diameter of the 
ovolo at each 
end. 

Fig. 85. Curves Started. Turn the 

ovolo and straight portion at each end (Fig. 87), 

using the chisel for this part of the work. Mark the 

points A, Fig. 

87, with the 

acute point of 

the chisel, as 

in cutting for 




the cove (Fig. Fig. 




Ends Tapered 



82 



ELEMENTARY TURNING 






39), and then 

turn this curve 

with a J -inch 

gouge, finishing 

it as shown in 

-p- r^Q Fig. 87. Ends Turned. 

Rough down the long curves with the roughing 
gouge, and finish with the inch skew chisel to the 

shape shown 
in Fig. 84. This 
piece may be 
polished by the 
same method 
as given in 

Fig. 88. Cavettos Turned. LeSSOn 21. 




LESSON XXIV 

TAPERED SPINDLE 




Fig. 89. Tapered Spindle. 

This is a form often used in architectural work. 
The square part of this piece is the lower end or base. 



ELEMENTARY TURNING 



83 




Fig. 90. Pattern Outlined. 



First turn the curve at the square end and shape 

the round part as shown in Fig. 90. Smooth the 

larger end of 

the cyhndrical 

part and turn 

the cavetto, 

which is next 

to the base 

(Fig. 91). 

In finishing this curve, hold the J-inch gouge as 

shown in Fig. 92. The gouge is rolled very much to 

, the right, so 

that it will 

cut square 

up to the 

end of the 

long curve. 
Fiq. 91. Base Completed. mi ^ 

-^ ^ Thelower 

end of the long curve is turned with a skew chisel 
the same as in turning a bead (Fig. 23). 

After the piece has 
been worked to the 
shape shown in Fig. 91, 
a part of the top is 
turned (Fig. 93). After 
turning the bead and 
the straight portion at 
the extreme top, shape 
the piece as shown in 





Fig. 92. Gouge on Side. 



84 



ELEMENTARY TURNING 



Fig. 94. It is very important that this be done 
properly, so that there will be no need of touching 

the flat part^ 
F, Fig. 95, after 
the curve C has 
been turned. 

Work the 
upper end of 





Fig. 93. Top Bead Turned. 

the long curve 
as shown in 
Fig. 95, and 
then rough the 
main part of 

the curve with ^^9- H- Ovoh Turned. 

the roughing 

gouge. Finish 

the long curve 

with the 1 - 

inch skew 

chisel to the 
Fig. 95. Cavetto Turned. ^^^^^^ ^^^^^^ -^ 

Fig. 89. This piece may be sandpapered, but need 
not be polished. 

LESSON XXV 

PORCH SPINDLE 

This pattern of spindle is often used on porches, 
and should be made of pine or other soft wood. The 
usual lengths of such spindles are 8 inches and 10 




ELEMENTARY TURNING 



85 



inches. The square portion at the bottom is a 
little longer than at the top. The diameter of the 





Fig. 96. Porch Spindle. 

bottom bead is nearly as great as can be turned from 
the piece. The diameter of the top bead is consid- 
erably less 
than the size 
of the square 
portion. 

Cut in at 
each end and 
finish the cor- ^^9- 97. Beads Spewed. 
ners (Figs. 76 and 77). Rough the central part to 
as near the desired size as you can with the rough- 

ing gouge 
(Figs. 20 and 
78), and 
smooth each 
end with the 
skew chisel. 
Mark all 

Fig. 98. Beads Turned. 

^ spaces, as 

shown in Fig. 97, with the chisel point. Review 




86 



ELEMENTARY TURNING 



what is said in Lesson 22 about marking spaces on 
square pieces (Fig. 75). 

Turn the cove and bead at the bottom end first, 
and then turn those at the top, as shown in Fig. 98. 

Finish the long curve with the skew chisel to the 
shape showm in Fig. 96. This spindle should be 
turned smooth enough for a paint finish without 
sandpapering. 



LESSON XXVI 



PLAIN BOX 



Select a piece of stock enough longer than the 
height of the box to allow for waste. For boxes 
made from If -inch squares, there 
will usually be about IJ inches 
of waste. Center the poorest 
end carefully, and if it is not 
square with the sides, make it 
square, either by sawing, plan- 
ing, or chiselling, before screwing 
it on to the chuck. 

Be careful to bore the hole 
the correct size so that the screw 
will hold as much as possible. 
Fig. 99. Plain Box. If you put some tallow or lard 
into the hole before screwing the piece on to the 
chuck, you will not only have less difficulty about 
turning it up tight, but it will hold very much more. 




ELEMENTARY TURNING 



87 




Be sure that it is so tight against the face of the 
chuck that it will not spring siclewise the least bit. 

Set the rest as shown in Fig. 100. The top of the 
rest should be 
level with the 
lathe center, 
and the end 
close to the 
chuck. 

Turn the 
piece to a cyl- 
inder, rolling 
the gouge so 
it will cut 
close up to 

, I, 1 Fig. 100. Blank on Screw Chuck {See Fig. 113). 

ij n e c nu c k , 

similar to Figs. 20 and 
77. Do not attempt to 
smooth it, except with 
the roughing gouge. 

Set the rest as shown 
in Fig. 101, and turn the 
end for the inside of the 
cover. To do this, use a 
gouge at first. The gouge 
should be held so that it 
will cut a shaving, but not 
so that it will catch in the 
Begin 




Fig. 101. Turning Inside of Box 
Cover. 



side of the piece. 



88 



ELEMENTARY TURNING 



at the center and move it carefully towards the edge 
nearest to you. As it nears the outer part of the 
curve, roll it so that the corner will not catch (Figs. 
^^^^ ^ 101, 114, and 126). It will 
^^^^^ cut quite rapidly when prop- 

^^^k ^ erly held. 

^%^ Finish the curved portion 

^^^k with the round nose scrap- 
ing tool, as shown in Figs. 
102 and 128. The scraping 
tool is held flat on the rest 
and quite horizontal. It is 
moved from the center to- 
wards the front side. This tool 
dulls very rapidly, because 
the wood passes at a right 
angle to its edge. The scrap- 
ing tool is not a cutting tool, and should be used 
only for finishing. It should be kept sharp, which 
means that it must be sharpened very often. Read 
what is said in Part III 
about sharpening scrap- 
ing tools. 

Cut the square portion, 
PI, Fig. 103, with the acute 
angle of the skew chisel, 
holding it as shown in Fig. 
104. This part must be made carefully or the cover 
will not fit properly. If it is not square and 



Fig. 102. Smoothing Inside 
of Box Cover. 




Fig. 103. Cutting a Rebate. 



ELEMENTARY TURNING 



89 



sufficiently deep, the cover will not stay in place 
while you finish the outside. 




Fig. 104. Cutting Rebate. 

Fig. 103 indicates the 
in cutting the rebate in 
the cover. The heavy 
lines indicate the posi- 
tion of the chisel in cut- 
ting the outer surface 
and the dotted lines in- 
dicate the position at 
which the chisel should be 
held in squaring the bot- 
tom of the rebate. Before 
completing this end, hold 
the skew chisel against 
the edge of the cover rim, 
making it very smooth 
and square (Fig. 105). 



position of the skew chisel 




Fig. 105. Squaring End of Cover. 



90 



ELEMENTARY TURNING 



Sandpaper and polish the curved portion, being 
very careful not to touch the square corners with 
either sandpaper or shellac. -If you do get any 
shellac into the groove or on to the end, carefully 
scrape it off after the interior of the cover has been 
polished. 

Start the curve for the top with the skew chisel 
and cut the cover from the remainder of the piece 
with the parting tool. This tool will cut either 

straight into 
the piece or at 
an angle. As 
this cover is 
not to have a 
knob, hold the 
parting tool as 
shown in Fig. 
106. 

Turn a re- 

Fig. 106. Cutting Off Cover. bate to receive 

the cover, first cutting with the point of the skew 
chisel, as shown in Fig. 39, and then lay the chisel 
flat, as shown in Fig. 107. Be careful to have the 
cover fit very tight, for it is to be turned on the 
outside after being put in place. See that the 
shoulder is square, and that the cover fits so 
tightly that there is no space at the surface where 
the two pieces join. 

Place the cover in position, and finish the out- 




ELEMENTARY TURNING 



91 



side, polishing the box on the side and end. 
the cover joins on to 
the box, the wood 
may be too thin to 
work in the ordinary 
way. If it is, lay the 
chisel flat and scrape 
it to size, as in smooth- 
ing the end (Fig. 105) 
and the curve (Fig. 
211). It will be neces- 
sary to scrape the 
rounded part of the 
cover; for, if the 



Where 




Fig. 107. Cutting Rebate. 



chisel is used in the ordinary way, it will shove the 

cover off. 

The gouge may 
be used in finish- 
ing the top of the 
cover, as in turn- 
ing the bead (Fig. 
53) and the cover 
(Fig.lll). Be sure 
to have the top of 
the cover smooth 
before applying 

Fig. 108. Box Ready for Polishing. ^^^ shellac. 

Before poUshing the outside of the box, cut a 
small groove about \ inch deep at the place where 




92 



ET.EMENTARY TURNING 



you expect to cut the box off, after it has been 
finished (Fig. 108). 

After poUshing all the outside, remove the cover 
and cut the rebate a little deeper, so that the cover 
will go on easily. Cut out the inside and polish, 
being careful to smooth the bottom. Use the gouge 
and scraping tool for this work the same as in hollow- 
ing the inside of the cover (Figs. 101 and 102). 
If the box is large or deep, the rest may be set as 
in Fig. 114. 

After finishing and polishing the inside, cut the 
box from the chuck with the parting tool. Write 
your name on a slip of paper and glue it to the 
inside of the box. 

The stub, remaining on the screw, may be used 
for a napkin ring, as in Fig. 167, or it may be re- 
moved from the screw and placed 
on an arbor, as in Fig. 174. 

LESSON XXVII 

BOX WITH KNOB 

This box is worked in the 
same manner as the one not 
having a knob, except that in 
cutting the cover off, the part- 
ing tool is held at an angle, as 
shown in Fig. 110. This is to 
Fig. 109. BoxwithKnoh. save material for the knob. 




ELEMENTARY TURNING 



93 



After the cover has 
knob must be 
turned. To 
turn the knob, 
use the gouge 
as shown in 
Figs. 53 and 
111. This po- 
sition tends to 
hold the cover 



been fitted to place, the 





Fig. 110. Cover, with Knob Being Cut Off. 

in place because of the 
pressure of the back of 
the gouge against the 
top. Take very Hght 
shavings, and work 
carefully. 

After turning the 
knob finish the outside 
and the inside the same 
as the plain box in 
Lesson 26. 



Fig. 111. Turning a Knoh. 



LESSON XXVIII 

PLAIN GOBLET 

For turning a small goblet the blank is secured 
to a screw chuck the same as the blank for the box 
(Lesson 26). Usually the blank is just long enough 



94 



ELEMENTARY TURNING 



for the goblet, so that the end of the blank next the 
chuck will become the bottom of the goblet as in 
Fig. 115. This saves some work 
and material, and makes the 
turning easier; because the 
shorter the piece, the easier it 
can be turned. If, however, the 
blank proves to be too long, it 
can be cut off the same as the 
box shown in Fig. 108 or the 
goblet in Fig. 122. 

Be very careful to have the 
piece screwed on so tightly that 
it will not spring away from the 
facing in the least. Set the tee 
rest as in Fig. 113, also see Fig. 
100, and rough the blank down 
to a cylinder. Stop the lathe 
and examine the piece carefully. The blank may 
have been resting at 
the corners, and now 
that they have been 
cut away, the piece 
may require tighten- 
ing. Set the rest as 
in working the in- 
side of the box cover 
(Fig. 101) and shape 

the inside of the Fig. lis. Rounding a Blank. 




Fig. 112. Goblet. 






ELEMENTARY TURNING 



95 



bowl, also square the end as shown in Fig. 105. 
Sometimes the tools will cut better, if the end of 
the rest is set into the bowl, as shown in Fig. 114. 
The inside should be turned very smooth, using first 
the gouge and then the round nosed scraping tool. 
Be sure that the scraping tool is very sharp. 

You will need to use quite coarse sandpaper at 
first. No. IJ will probably be the best grade, unless 
the goblet is very 
large and of a 
coarse wood. If 
it is, use a little 
of No. 2 sand- 
paper. Hold the 
paper so it will 
not spoil the 
edge or rim of 
the bowl. To 
avoid this, you 
may need to tear ^*"^- ^^^- ^^^^ ^^^^^^ ^/ ^^^^• 
the paper to -J-size or perhaps even smaller. Be 
sure to smooth the bottom end of the bowl, and 
also to sandpaper down any ridges on the inside. 

Finish the inside entirely, including the poHsh- 
ing, for it is not best to attempt to polish the inside 
after turning the outside of the bowl. Each time 
a part is polished, it should be so well done that it 
will not be necessary to touch it again, for after the 
outside of the bowl is finished it is too thin to be 




96 



ELEMENTARY TURNING 



polished on the inside; and after the stem has been 
turned the bowl will probably revolve a little out of 
true, and the outside cannot then be polished. 

The next part of the work is to turn and polish 
the outside of the bowl, polishing it to the small 
shoulder, S, Fig. 115. The reason for working to the 
point, S, is that the square corner at this point is a 
good place at which to join the two parts of the finish. 
After the outside of the bowl has been polished, 

turn the base 
and stem. Be 
very careful 
not to allow 
your tool to 
slip and spoil 
the base. 
Smooth the 
outer edge of 
Fig. 115. Goblet Bowl Polished. the base with 

the skew chisel. Make several marks with the point 
of the chisel to assist in starting the gouge, which 
should be held as shown in Fig. 116. Be sure to 
have the edge of the base so thick that the pressure 
of the back of the gouge will not break the edge. 

Turn the large curve with the gouge in the same 
manner as you turned the 1-inch cove. Use such 
tools in turning the stem as the pattern requires. 
Polish the base and the stem, and then remove the 
goblet from the chuck. 




ELEMENTARY TURNING 



97 



After the goblet has been removed from the 
chuck, the bottom may be rubbed on a sheet of 




Do 



Fig. 116, Turning Base of Goblet. 

sandpaper, laid on the bench or a flat board, 
not rub the bottom surface 
much, or the edge will be 
injured. 

LESSON XXIX 
GOBLET WITH RINGS 

If rings are to be turned 
about the stem of the goblet, 
they are worked from the 
material that is ordinarily 
cut away. In turning the 
outside of the bowl leave as 
much material for the rings 
as you can. Compare Fig. 

115 with Fig. 118. Fig.ll?. Goblet with Rings. 




98 



ELEMENTARY TURNING 




To turn the rings, first turn beads, and then use 
the ring tools on each side, as shown in Figs. 198 and 

295. Gradually 
work around 
each ring, until 
it is nearly cut 
from the piece. 
If there is but 
one ring, it may 
be worked en- 
tirely with the 
skew chisel, as 
shown in Fig. 

Fig. 118. Goblet Bowl Polished. \^^. If there 

are several rings the ring tools will be required. 
Sandpaper and polish the rings carefully, as shown in 
Fig. 119 and then, by using the ring tools, cut the 
rings entirely free. 
After the first 
set of rings has 
been cut loose, an- 
other set ma}^ be 
made, as shown in 
Fig. 120; and after 
these have been fin- 
ished, yet another 

set may be made. Fig. 119. Goblet Rings Polished. 

By making rings small and close together, a 
large number may be cut on one goblet. Before 




ELEMENTARY TURNING 



99 




cutting off the second set of rings, turn as much of 

the base and stem as you can in order to make room 

for the rings when loosened. 
Figs. 120 

and 121 show 

how to hold 

the rings with 

one hand , 

while turning 

the base and 

stem with the 

other hand. 

Fig. 121 also 

shows the 

groove made 

in starting to 

cut the goblet from the chuck. 

The blank for this goblet, was too long for the 

size of the top, therefore it was necessary to cut it 

off, as shown 
in Fig. 122. 

In using the 
parting tool in 
such a place, 
start the cut 
with the point 
of the skew 
chisel to avoid 

Fig. 121 Turning Between Rings. rOUghing the 



Fig. 120. Turning Base of Goblet {See Fig. 116). 




LOfC 



100 



ELEMENTARY TURNING 



edge. Hold the chisel at such an angle as will cause 
the goblet to rest on the outer edge of the base. By 
cutting a wide space, the bottom of the base may be 
sandpapered to near the center before cutting it off. 
In cutting off a piece of this shape, it is better 
to cut well in from the surface with the acute point 
of the skew chisel, leaving only a small part to be 




Fig. 122. Cutting Goblet from Chuck. 



cut with the parting tool. If there is plenty of 
room, the piece may be cut entirely off with the 
skew chisel. This will make a better finished bottom. 
In either case it may be sandpapered after being 
removed from the lathe. 

After the goblet has been removed from the 
chuck, the inside of the rings should be smoothed 
with the knife and sandpaper, and then polished by 
hand. 



ELEMENTARY TURNING 



101 



LESSON XXX 
A ROSETTE 

Rosettes are made in many designs. They are 
usually held on a screw chuck while being turned. 
Fig. 124 illustrates the 
blank in place, and the 
turning gouge cutting 
the outer edge. If the 
blanks have been care- 
fully sawed to shape 
on a band saw, the 
outer edge will not 
require much turning. 
If they have been cut 
to shape by simply 
sawing the corners off ^'^3- i^^- Rosette. 

with a hand saw or a 
back saw, as in Fig. 259, 
there will be danger of 
breaking the gouge, if 
the piece is of hard 
wood, unless you work 
very carefully. If the 
edge is very rough or 
the wood very hard, 
hold the gouge nearer 
on a level so that it wdll 

Fig. 124. Turning Edge of Rosette, not CUt too deeply. 





102 



ELEMENTARY TURNING 



Turn from each edge towards the center, rolling 
the gouge, as shown in 
Figs. 124 and 125. 

Whether the face 
surface of the rosette 
should be turned with 




Fig. 126. Turning Fcwe of 
Rosette. 

should use a roughing 
gouge for the general 
outUne, and then shape 
the parts with the 
turning gouge, finish- 
ing with the round end 
scraping tool and 
firmer chisel. Fig. 271 
shows how the rough- 
ing gouge is held. 




Fig. 125. Turning Edge 
of Rosette. 

the roughing gouge 
or a turning gouge 
will depend upon 
the pattern. For 
this design you 




Fig. 127. Scraping with Chisel. 



ELEMENTARY TURNING 



103 



Fig. 126 shows how the turning gouge is held to 
make it cut instead of scrape. Before attempting to 
use the turning gouge 
in this manner, refer to 
Figs. 231, 232, and 233. 

Scraping tools 
must be used to finish 
the surfaces, both at 
the edge and on the 
face. 

Figs. 127 and 128 
show how these tools, 
are held. Figs. 102, 
171, and 211 show 
other positions of 
scraping tools in use. 




Fig. 128. Scraping with Round 
Nosed Tool. 



SUPPLEMENTARY EXERCISES 

PART II 
INTRODUCTION 

The thirty lessons cover substantially all the 
ordinary uses of wood turning tools. More difficult 
problems are easily suggested, yet, for the time 
usually devoted to turning, it is not advisable to 
undertake the more difficult problems. 

For those who are more apt in this line of work, 
or who wish to devote more than the ordinary time 
to this subject, additional exercises are given. 
There are also a variety of designs which may sug- 
gest other problems and combinations requiring no 
additional directions. 

It is better to execute the exercises in this part 
in their given order, yet, by a thorough use of cross 
references, a pupil who has completed Part 1 should 
be able to make any of these articles properly. 
Until all the work in Part 1 has been completed, no 
attempt should be made to do any of the work in 
Part 2. 

NUMBER I 

TOOL HANDLE 

Tool handles may be made from pieces which are 
too small for regular exercises, or out of pieces which 
have been accepted as exercises and then discarded. 



106 



ELEMENTARY TURNING 




Usually the piece is turned with the roughing 
gouge to the general outline, as shown in Fig. 130. 
With the point of the skew chisel (Fig. 39) the length 

of the space for the 
ferrule is marked. 
The end is then 
turned to a size 
Fig. 129. Tool Handle. that will allow of 

the ferrule being driven to place. 

Turn the conical part, which is next to the fer- 
rule, using the roughing gouge and the skew chisel. 
With the turning 
gouge (Fig.47) turn 
the small curve. 
Work the main part 
of the handle to 
size with the rough- 
ing gouge (Fig. 13). 




Fig. 130. Tool Handle Roughed. 



Finish the handle to the shape 
shown in Fig. 131, using the skew chisel the same 
as in finishing the body of Fig. 89. 

After the 
handle has been 
sandpapered and 
polished, as 
shown in Fig. 131, 
carefully cut the 
stub end off with 
the skew chisel while the piece is in the lathe. Do 
this so that there will be no roughness on the end of 



Wkz " ^ ' 


— ^ - .ik'u&S'i'^^^' : 


_ 


.^1%^ 


Mb.. 


-~~^. 


'-**•., 


^-- 



Fig. 131. Tool Handle Sandpapered. 



ELEMENTARY TURNING 



107 



the handle. There should be no stub end at the 
dead-center bearing. 

Another method of making a handle is to work 
several places to 
near the finished 
size, as indicated 
by Fig. 132. The 
measure me n t 
should be made 
as given in draw- 
ing, Fig. 133. The 
parting tool is 
used for the cut- 
ting or scraping, 
and the calipers 
are used for 




Fig. 132. Tool Handle Sized. 



measuring the diameters. The piece is then worked 
to size by carefully cutting with the roughing gouge 
to the bottom of the grooves made by the parting 



^-r 



3#'- 



6 






1 



Fig. 133. Tool Handle. 



tool. The handle is then finished in the same 
manner as first described. 

Fig. 129 illustrates an ordinary file handle. 
Handles are made of all sorts of shapes and sizes. 



108 



ELEMENTARY TURNING 



and of many kinds of wood, 
file handles are of soft wood, 
always be made of hard wood 
used for firmer chisel handles. 




The cheaper grades of 
Chisel handles should 
Apple wood is often 
Socket chisel handles 
for heavy work 
are often made 
from hickory. 
Sometimes they 
Fig. 134. Leather Topped Handle. • ^j.g fitted with 

an iron ferrule at the top end, similar to the ring on 
the mallet (Fig. 150). 

Handles which are to be struck with a mallet may 
be flat at the top end, and have two or three thick- 
nesses of 
leather glued 
or nailed to 
the end, so 
as to hinder 

the mallet Fig. 135. Socket Chisel Handle. 

from spHtting the handle. Fig. 134 shows a handle 
of this kind for a tanged firmer chisel. Handles for 
socket chisels may also have leather tops. , 

Fig. 135 illustrates a handle of fancy pattern for 
a socket chisel. These handles are not to be struck 
with a mallet. 




ELEMENTARY TURNING 



109 



NUMBER II 
GAVEL 

The essential features of a gavel are that the ends 
of the head should be rounding in shape, and that 
it be made of wood from a hard, sono- 
rous variety, and of a pleasing design. 



Fig. 136. Gavel 

Turn the head of the gavel first, 
being particular to finish the wood so that it will 
take a very high polish. Be sure to select stock long 
enough to allow for waste at each end, as shown in 
Fig. 137. Usually, there should be a longer stub of 

waste at the spur 
center than at the 
dead-center. 

Outline the pat- 
tern, as shown in 
Fig. 138. Finish the 
central portion of 
the pattern first, and 
Fig. 137. Gavel Roughed to Shape. ^^^^ ^^^^^ toward 

the ends, finishing the rounded ends last. These 
will require very careful scraping in order to finish 
properly. Hold the chisel while scraping as shown 




110 



ELEMENTARY TURNING 



in Figs. 105, 127, and 211. After the piece has been 

polished, it will appear as in Fig. 139. 

In cutting the stub end off, leave enough material 

to sandpaper thoroughly so that each end will be 

free from any 

roughness or marks 
caused by the tools. 
To sandpaper the 
ends, lay a piece of 
sandpaper on the 
bench, and rub the 
gavel on the paper. 
Use coarse sand- 
to cut the end down to 




an 



Fig. 138. Pattern Outlined. 

paper at first in order 
even, rounding surface. After removing the rougher 
places, finish the work by holding the sandpaper in 
the palm of your hand. Finish with paper so fine 
that the ends will 
take a polish 
equal to the other 
parts of the gavel. 
Examine the 
head carefully 
and plan to have 
the handle located ^^^3- ^^^- ^^^''^ Finished in Lathe. 
so as to give the best effect. Place the head in the 
vise with a block at each end, as shown in Fig. 140. 
Bore the hole nearly through, being careful to make 
it straight and at right angles to the surface. 




ELEMENTARY TURNING 



111 



Select a piece for the handle, and turn it as 
indicated in Fig. 141, having the larger end near 
the Uve-center. First round the piece the entire 
length, and then fit the 
end next to the dead- 
center into the hole 
bored in the head of 
the gavel. Determine 
the length and turn the 
large end. Finish the 
central portion (Fig. 
142), and then carefully 
polish all, except the 
part which enters the 
head. Glue the handle 

'^ ' Fig. 140. Gavel Head in Vise. 

Gavels vary greatly 

in size. No. 136 is 3i inches long and 2f inches in 

diameter. The handle is 9i inches long and H inches 





Fig. 141. Handle Roughed Out. 

in diameter at the large end. The hole in the head 
for the handle is J inch in diameter. 



112 ELEMENTARY TURNING 

No. 144 is 2| inches long and IJ inches in diam- 
eter. The 



handle is 

9 inches 

Fig. 142. Handle Polished. long and 

f inches in diameter at the large end. The hole in 
the head is 7-16 inch. 



NUMBER III 
GAVEL PATTERNS 

These patterns represent a variety of possible 
forms for gavels. Study them carefully, and then 
work out a design of your own. Follow the plan 
outhned in making number 136 by first planning 
the length, then working the center, 
and lastly turning the ends. 



Fig. 143. Gavel. 



Fig. 144. Gavel. 



ELEMENTARY TURNING 



113 




Fig. 145. Gavel 



Fig. 146. Gavel. 




Fig. 147. Gavel. 





Fig. 148. Gavel. 

NUMBER IV 

CARPENTER'S MALLET 

The carpenter's mallet is worked in the same 
manner as the gavel (Fig. 136). Such mallets vary 
greatly in size. The one shown in Fig. 149 is 5 
inches long, and 2| inches in diameter. The handle 
is 10 inches long, including the 2 inches in the head, 
It is IJ inches in diameter at the large end and | 
inches in diameter in the head. 



114 



ELEMENTARY TURNING 



Mallets for such use should be plain and larger 
at the center than at the ends. There should be no 
deep markings or grooves in the head 
near either end, for such a breaking 



Fig. 149. Carpenter's Mallet. 

of the surface will cause the splitting 
of the mallet. 

The two dark bands in Fig. 149 are not deep-cut 
beads. They were made by cutting very small 
grooves at each edge of each band and holding the 
end of a stick against the surface while the lathe 
was in motion, until 
the surface of the wood 
was darkened. 

The handle should 
not have any ring, 
shoulder or other break 
in the surface at the 
end near the head, for 
such a design will cause ^'d- 150. Mallet with Iron Rings. 

the strain when in use, to concentrate at one point 
which will soon cause the handle to break. 

For heavy work, mallets have iron rings to keep 
the wood from splitting. The ends should be cut 




ELEMENTARY TURNING 



115 



down to receive the rings. The wood should extend 
out beyond the ring so that as the mallet is used it 
will batter over the ring and hinder it from coming 
off, otherwise the ring will jar off in use. The rings 
should be heated and shrunk on. Fig. 150 shows the 
mallet head with the ring on one end and the space 
ready for the ring at the other end. 

Carpenter's mallets are made from box-wood, 
hickory, maple and similar w^oods. Sometimes a 
very tough knot or knurl is used for a mallet. 




Fig. 151. Carver's 
Mallet. 



NUMBER V 

CARVER'S MALLET 

Figs. 151 and 
152 show two de- 
signs for carver's 
mallets. The 
usual sizes are 
indicated by the 
drawing. Fig. 153. 
No special direc- 
tions are required 
for making them. 
The bottom or 
large end should 
be straight across 
so that they will 
stand on end 
when not in use. 




Fig. 152. Carver's 
Mallet. 



116 



ELEMENTARY TURNING 



«W 



■i^ 



rf 



"T 



" 94- 

Fig. 153. Carver's Mallet. 



34- 




Fig. 154. 
Holder's 
Rammer. 



NUMBER VI 



MOLDER'S RAMMER 



Fig. 154 illustrates a molder's ram- 
mer. This shovild be made from hard 
wood, maple being one of the best for 
this purpose. Cheaper woods, such as 
beech, may be used. The sizes given in 
the drawing (Fig. 155) are for a rammer, 
suitable for use by pupils in the high 
school. 

First, turn the piece to a cylinder; 
next, cut away the central portion, 
making the handle. Finish the ends, 
round all the corners, sandpaper and 




Fig. 155. Molder's Rammer, 



ELEMENTARY TURNING 



117 



oil the entire surface. Remove the piece from the 
lathe, and then 
finish the ends 
(Fig. 156). 
Lay out the 




long end, and Fig. 156. Turning for Molder's Rammer. 
saw and plane it to the finished shape, as shown 
in Fig. 154. 

NUMBER VII 



DARNING BALL AND DARNING HEMISPHERE 

The darning ball (Fig. 157) and the darning 

hemisphere (Fig. 
159) should be 
finely finished, 
especially on the 
large hemispher- 
ical ends. The 
sizes may vary. 

Those given in 

Fig. 157. Darning Ball. 




X^ 



:1l 



sig) 



Fig. 158. Darning Ball. 



— ^^^^ — 

- 64" — 



-/i"— 



/i- 



118 



ELEMENTARY TURNING 



the drawings (Figs. 


W^ 




158 and 160) are of 


W^ 




the average size. The 


W 




wood used should be 


1 




of a close, hard grain. 


Lfj 




Maple, cherry, apple, 


K| 




etc., are suitable. 


■ 




Fig. 159. 


Darning Hemisphere. 



1 



■•x 



iop 






Fig. 160. Darning Hemisphere. 



4 



NUMBER VIII 

GLOVE MENDER 




Fig. 161. Glove Mender. 



This glove mender 
should be made from 
hard wood, and about 
4J inches long. The 
ends should, be of a size 



to fit the glove fingers. It should be very carefully 
smoothed. 



ELEMENTARY TURNING 



119 



NUMBER IX 

PLAIN RING 

This exercise is given to show a method of mak- 
ing a ring without the use of 
O special tools. Fig. 163 shows a 
piece which was cut from the 
bottom of a box. 
A f-inch hole was bored 
through the center of the piece, 
and it was forced on to an arbor. 
Read what is said about arbors 

Fig. 162. Plain Ring. -^ p^^^ ^11, 

Turn the outside of the ring in the same manner 
as an ordinary bead is turned (Figs. 23 and 33). 
With the skew chisel held as shown in Fig. 164 




Fig. 163. Ring Blank on Arbor for Turning. 

scrape around towards the inside of the ring from 
both the right and the left sides. 



120 



ELEMENTARY TURNING 



In this manner shape 
severed from the waste 




Fig. 16 4. Turning the Hing. 
after removing it 
from the lathe. 

To finish the ring 
on the inside, it may 
be placed in a chuck, 
as shown in Fig. 165. 
After one side has 
been polished, reverse 
the ring and polish 
the other side. 

Instead of using 
the ''cut and try" 
method of making the 
hole in the chuck, you 
may set the inside 



the ring, until it is nearly 
material. Polish the ring 
carefully, reaching as 
far inside as you can. 
After the ring has 
been polished, cut it 
entirely free, holding 
the chisel the same 
as in Fig. 164. Rings 
may be made on the 
stems of goblets in 
this manner. Smooth 
and polish the inside 
of the ring by hand. 




Fig. 165. Ring in Chuck. 



ELEMENTARY TURNING 



121 



calipers and hold them as shown in Fig. 263. Do 
not attempt to touch them to the chuck while it is 
in motion. 

NUMBER X 

NAPKIN RING, FIRST METHOD 

Napkin rings may be made of many shapes and 
sizes. The scraps of wood left from regular exer- 
cises, boxes, etc., can be used for 
making them. The larger sizes are 
made about 2 inches in diameter. 





Fig. 166. 

Napkin Ring. 

Usually the grain of 
wood should be par- 
allel with the axis of 
the ring, but some- 
times it may be at 
right angles to the 
axis. 

Only pieces quite 
free from defects 

should be used for Fig. 167. Ring Turned on Screw Chuck. 



122 



ELEMENTARY TURNING 




when the ring has been turned to shape, it is so thin 

that a small check is quite likely to cause it to break. 
The outside, inside, and one 

end may be turned on the screw 

chuck, as shown in Fig. 167. This 6 

is the piece left after turning the 

box (Figs. 99 and 108). 

After completing the ring as 

shown in Fig. 167, fasten a piece 

of pine to an iron face-plate (Fig. 

278), using at least four screws. 

Be careful to locate the screws so 

that they will not be in the way 

of the tools in making the place 
for the ring. 

Turn the opening in this 
block just large enough to re- 
ceive the ring. In making the 
opening in the chuck for the 
ring, be careful to not only 
have it fit tightly at the cir- 
cumference, but also at the 
inner end. If you are partic- 
ular to have a good bearing at 
the end, as indicated at B, Fig. 
168, there will be much less 
difhculty about the piece run- 
ning true. It is not necessary 

that the hole in the face-plate be deep. It is 



Fig. 168. Section of 
Napkin Ring in 
Cup Chuck. 




Fig. 169. Napkin Ring 
in Cup Chuck. 



ELEMENTARY TURNING 



123 



sufficiently deep if it admits the ring beyond the 
center of the first bead. 

If both ends are to be 
chucked, be careful to fit 
the hole to the smaller end 
first. See that the ring is 
held firmly and that it 
revolves true. 

Fig. 169 shows the ring 
in the chuck. Set the rest 
as in Fig, 170, and then 
bore out the inside with the 




■"^^4 



r» • 1 • -ii ,1 Fiq.170. Borinq Napkin Rlnq. 

gouge, finishing with the ^ y ^ y 

skew chisel, held as shown in Fig. 171. The skew 

chisel may be used as a 
scraping tool on the in- 
side of the ring, if the 
rest is placed so that the 
edge of the chisel is a 
little above the center of 
the ring. If it is below 




Fig. 171. Skew Chisel Smoothing 
Ring. 




the center, it is likely to enter ^.^^ ^^^ Polishing Ring 
too deeply into the wood. on Arbor. 



124 



ELEMENTARY TURNING 



Finish this end by sandpapering and polishing 
it completely. Reverse the ring and refinish the 
other end. 

If in chucking, the finish on the outside should 
be injured, the ring may be placed on an arbor, as 
shown in Fig. 172, and refinished. 



NUMBER XI 

NAPKIN RING, SECOND METHOD 



Instead of screwing a blank 
on to a screw chuck, it may 




Fig. 173. Napkin Ring. Fig. 17 If.. Napkin Ring Blank. 



be placed on an arbor 
the same as the plain 
ring. Fig. 163. It is 
not necessary that the 
blank be cylindrical. 
Fig. 174 shows a blank 
in place. The tools 
must cut lightly to 
avoid causing the 




Fig. 175, Outside of Napkin Ring 
Finished. 



ELEMENTARY TURNING 



125 



the hole. Turn the piece to a 



arbor to turn in 

cylinder, cut the ends square, and 

then shape the pattern. 

Fig. 175 shows the outside of a 
ring finished, and 




Fig. 177. Beaded 
Napkin Ring. 




the piece ready to 
be removed from 
the arbor and 
placed in a cup 
chuck. It is then 
finished the same as Fig. 169. 

Figs. 176 and 177 show other 
designs for napkin rings. 



Fig. 176. Plain 
Napkin Ring. 



NUMBER XII 

VISE HANDLE 



Select a piece of straight grained hardwood, 12J 
inches long, and turn the end, as shown in Fig. 179. 
Move the rest and turn the other end, as shown in 




Fig. 178. Vise Handle. 

Fig. 180. Bore a hole in a block and force it on to 
the end, as shown in Fig. 181. Turn the block to 
shape, completing the handle. Sandpaper all, and 



126 



ELEMENTARY TURNING 




Fig. 179. One End of Vise Handle Finished. 

cut the handle out of the lathe, the same as the tool 
handle (Fig. 129). Fig. 178 shows the completed 
handle. 

After the handle has been placed in the iron 
at the end of the vise screw, glue the wooden knob 




Fig. 180. Handle Ready for Knob Blank. 

to place. Do not use any brad in the knob. In 
order to make the handle from smaller stock, dealers 
sometimes turn both balls separate from the bar. 




Fig. 181. Knob Blank in Place. 



ELEMENTARY TURNING 



127 



NUMBER XIII 

WOODEN SCREW 

For wooden hand screws, two kinds of screws 
are required. The back screw, shown in Fig. 182, 
and the shoukler screw having a square shoulder 
next the handle, as shown in Fig. 183. 




Fig. 182. Back Screw for Wooden Hand Screw. 

About the only wood suitable for these screws 
is straight-grained hickory. 

Finish the handle first. Re-set the tee rest and 
finish the other end the same as in making the 
vise handle (Figs. 179 and 180). 




Fig. 183. Turning Wooden Blank jar Screw. 

The part on which the thread is to be cut must 
be smooth and of correct size. By holding the hand, 



128 



ELEMENTARY TURNING 



as in Fig. 183, the piece can be smoothed with the 
skew chisel. Test the piece carefully with the 
calipers. It should be of the same size as the smooth 




Fig. I84. Cutting the Threads for a Wooden Screw. 

part of the hole in the screw box, which is to be 
used in cutting the thread. 

Do not use any sandpaper on the part of the 
piece which is to be threaded. Start the thread 



ELEMENTARY TURNING 



129 



by hand, and then place the piece in the lathe. 
Put the belt on a slow speed. Remove the rest, 
so that if the screw box becomes stuck, it will not 
be injured by striking the rest. Move the shifter 
just enough to cause the piece to revolve slowly 
(Fig. 184). Some tallow thoroughly rubbed on 
the wood will cause the screw box to cut a smoother 
thread. 



NUMBER XIV 

LARGE BOX 

This box differs from those shown in Figs. 99 
and 109, not only in the shape of outline, but also 
in the fitting of the 
cover. The cover is 
turned in a manner 





Fig. 186. Inside and Bead of Cover 
Polished. 

similar to the one shown in Les- 
son 27, the difference being that 
the inside is a simple curve, and 
Fig. 185. Box. ^]^g shoulder for fitting against 

the top of the box is on the outside, as shown in 
Fig. 186. 



130 



ELEMENTARY TURNING 



The large bead at the top end of the box and the 
rounded edge of the cover are to obscure this joint. 

The inside of 
this cover and 
also the bead 
should be pol- 
ished before the 
cover is cut from 
the box. The end 
of the box should 
be polished before 
the cover is put 
in place, because 
of the difficulty in 
polishing the 
small groove be- 
tween the end of 
the box and the 
cover, after the 
cover is on the 
box. 

This is a large 
box, being made 
of 4-inch stock, 
and you should 
do most of the 
work with the 
skew chisels and 
gouges rather 




Fig. 187. Turn my Ihc tHo.d on the Cover. 



ELEMENTARY TURNING 



131 



than with scraping tools. Fig. 187 shows a good 

position for using 

the skew chisel in 

turning the large 

end. 

Fig. 188 shows 
the cover in place, 
the outside pol- 
ished, and the 
groove at the base 
where the box 




Fig. 188. Box and Cover Polished. 




Fig.l 



the Inside of a Box. 



132 



ELEMENTARY TURNING 



will be cut off. Fig. 189 shows the position of the 
rest and the gouge in boring the inside. Notice 
that the gouge is rolled towards the left so that it 
will not dig into the work. 

In removing the waste from the interior of a 
box of this size, usually the J-inch gouge can be 
used. When this gouge is used, the rest is generally 
set square across, as shown in Fig. 189, yet it may 
be set as in turning the light goblet (Fig. 114). 

Unless the gouge is so light that it springs, the 
rest had better be set square across. 

This box is large enough to receive a very nice 
polish on both inside and outside. 



NUMBER XV 
BOXES 

There is opportunity for a very great diversity 
of form and size in the designs of boxes. Some may 
have their covers tightly fitted as shown in Figs. 





Fig. 190. Box. 



Fig. 191. 



ELEMENTARY TURNING 



133 



99 and 109; others may have covers as in Fig. 185 
or 191. The body of the box may be straight, 
curved, or ornamental. After examining these 
designs, make a design of your own. 





Fig. 192. 



Fig. 193. 



NUMBER XVI 



CANDLESTICKS 



Although candlesticks of wood are not very 
useful, yet they are excellent exercises in turning. 
They may be supplied with a metallic top. 

Usually, in making the candlestick it is more 
convenient to turn the parts separately, finishing 
them completely, including polishing, before putting 
them together. 

The base may be fastened to an iron face-plate 
and finished, as shown in Fig. 195. The hole is 
bored the same as in making the box. Lesson 26. 
If you wish to finish the under side of the base, it 



134 



ELEMENTARY TURNING 



may be placed in a wooden chuck, the same as the 
ring (Fig. 165); or the napkin ring (Fig. 169); or 

the pin tray (Fig. 227). 

Care must be taken to 
locate the screws so that they 
will enter the thick portion of 
the base, or they will interfere 
with the turning. 

The stem is turned on the 
center the same as the exer- 
cises in Part I. Fig. 196 
shows the piece outlined, and 
Fig. 197 shows it finished. 

The joint at the base may 
be hidden by a bead as in 

Fig. 194. Candlestick with 
Handle. 

Fig. 194, or it may be shaped 

as shown in Fig. 199 or 203. 

The hole at the top for the 

candle is usually bored with 

a Forstner bit after all other 

work on the candlestick has 

been completed. The hole 

may be started wdiile the 

piece is in the lathe. For 

this purpose use either a 

small turning; srouore or a „ „ . 

, . , ^ ^ ^ , . Fig. 195. Base for a 

turnmg chisel. Sometimes Candlestick. 





ELEMENTARY TURNING 



135 





a ring for a handle is placed on the side, as shown 

in Fig. 194. The ring is turned and finished on 

an arbor, as 

shown in Fig. 

198, This 

ring is too 

small to be Fig. 196. Candlestick Stem Outlined. 

turned easily with the skew chisel, therefore, the 

special ring tools are used, as shown in Figs. 198 

and 295. These 
tools may be of 
various forms and 
sizes, as described 

Fig. 197. Candlestick Stem Finished. in Part 3. 

After the ring has been polished as much as 
possible on the arbor, cut it entirely loose, and finish 
it by hand or in a 
chuck, as shown in 
Fig. 165. Fit with a 
knife where it joins 
the base and the stem. 
Scrape the finish off 
wherever the parts 
join so that glue will 
hold properly, and 
glue it to place. 

In turning candle- ^^^- ^^^- "Fuming a Small Ring. 

sticks, similar to Fig. 199, the base is turned on a chuck 
the same as shown in Fig. 195. The stem is roughed 




136 



ELEMENTARY TURNING 



out between centers, and the joint carefully made by 

holding the tools 
as shown in Figs. 
206 and 207. The 
stem is then glued 
to place, and 
turned on the 
face-plate. The 
joint must be 
thoroughly sized 
with glue before 
putting together. 




Fig. 199. A Low Candlestick. 



NUMBER XVII 
DESIGNS FOR CANDLESTICKS 




Fig. 200. 



ELEMENTARY TURNING 137 

By studying the four designs on the preceding 
page, and Nos. 194 and 199, you ought to be able to 
make an original design. 



NUMBER XV III 

HAT RESTS 

The hat rest, shown in Fig. 204, may be made by 
turning the base on a face-plate, the same as the base 
of the candlestick. Fig. 195. 

The top should be turned on an arbor, similar to 

the napkin ring. Fig. 

174. The stem may 

be turned on the 

centers the same as 

the first exercises or 

the candlestick stem 

(Figs. 196 and 197), 

and the ends fitted 

to the holes in the 

base and top. 

After each part 

is completed, all 
Fi,.204. Hat Rest, ^^^^j^ ^^ ^^^^ ^^_ Fig., 05. Hat Rest. 

gether. If the hat rest is to be made in this 
manner, there may be beads or some similar curves 
at the joints so that any variations will not be 
noticeable, as in the candlestick, Fig. 194, 





138 



ELEMENTARY TURNING 




Another method, and one which may be used for 

such designs as Fig. 205, 
is to rough out all the 
parts and fit them to- 
gether. The piece for the 
top should be roughed 
to shape on an arbor. 
In squaring down the 
end, the skew chisel 
may be held as shown 

Fig. 206. Jointing Side of Blank. in Fig. 206. 

To finish the surface, the skew chisel should be 
held as in Fig. 207, and a very light cut should be 
taken. 

Regular scraping tools, if 
they are at hand, should be 
used for facing these pieces. 

The stem should be 
roughed to the shape shown 
in Fig. 208. 

The ends should be care- 
fully formed. The surface 
which forms the joints must be very well turned, or 

the joint will show 
badly after the 
parts are polished. 
The base should 
be secured to a 

Fig. 208. Stem for Hat Rest, face-plate, the 




Fig. 207. Jointing Side of 
Blank. 




ELEMENTARY TURNING 



139 




Fig. 209. 



same as the base in Fig. 195 or Fig. 258. The edge 

must first be turned, using the gouge as in Fig. 125 

or 126. No attempt should be made to scrape these 

surfaces, for the gouge will again be used on them, 

after the parts have been glued 

together. 

The face of the base should be 

turned with the roughing gouge, 

as in Fig. 271, and then a hole 

bored for the pin which is to 

extend entirely through the piece. 

You may find it of advantage to 

use longer screws in fastening the 

blank to the face-plate, so that Roughed Out. 

you can block it away from the face-plate by 

placing strips about J inch or | inch thick between 

the base block and the iron. 

After the hole has been finished, turn the base 

to the form shown 
in Fig. 209. 

Glue the three 
pieces together, 
clamping them 
with strong cl amps, 
as shown in Fig. 
210. 
In making such joints in pieces to be turned, 

the end grain and the side grain should be thoroughly 

sized with glue before gluing together, so that in 




Fig. 210. Parts Clamped. 



140 



ELEMENTARY TURNING 



turning the grain will not be torn or broken at the 
joint. If the sizing is properly done, the joint can 
be turned after drying as perfectly as if it were one 
piece. 

You must plan to preserve the centers on the 
stem, so that they can be used after gluing. The 
spur center will not hold so strongly as the screws 

in the face-plate, 
therefore you must 
be very careful in 
turning the base and 
top after the parts 
have been glued. 

Fig. 211. Hat Rest Outlined. rpj^^ fij-g^ ^Yiing to 

do after the parts have been joined, is to go over 
the entire pattern, turning each part to nearly the 
finished size. Fig. 211 shows the piece nearly to 
size, and also shows how the chisel is held to scrape 
the face of a curve. 

To form the long curve, work carefully from 
each end. The top and bottom parts should be 
nearly finished before turning the stem. Fig. 205 
shows the finished hat rest. 





HP 


1 




-^mmi':<$ 


! 


^x\.;^riB 


■■n^ 


1 



ELEMENTARY TURNING 



141 



NUMBER XIX 
COMBINING WOODS 

To combine woods for ornamental turning does 
not require a great deal of skill. The object should 
be to combine them so that the effect will be pleas- 
ing rather than novel. 

There are two ways usually employed in prepar- 
ing such work for 
turning. The one 
more often used, and 
probabl}^ the better, 
is to glue together 
thin boards of two 
or more varieties of 
wood, making a 
block sufficiently 
large to allow of 
ripping across the 
glue joints after the ^'"9- 212. Combining Woods. 
boards are all in place. This will result in a block 
having a cross section as indicated in Fig. 212. 

The block is then ripped across the glue joints, 
as indicated by the vertical lines, making a number 
of boards equal in thickness, after being smoothed, 
to the thickness of those first used. These pieces are 
reversed and glued together, making a block. The 
end of this block will be a series of exact squares, as 
shown in Fig. 213, if the work has been properly done. 



































^ 


^ 


^ 


y} 


^ 


^ 


/// 


^ 


















^ 


^ 


^ 


y/y 


^ 


y/A 


V/, 


yy 


















^ 


^ 


Va 


V/, 


V/, 


Va 


^A 


/// 


















'y//. 


/// 


^ 


<"///. 


^ 


yy 


^ 


yy 



















142 



ELEMENTARY TURNING 





^ 




^ 




^ 




^ 


^ 




^ 




^ 




^ 






^ 




^ 




^ 




^ 


^ 




^ 




^ 




^ 






^ 




^ 




>^ 




s^ 


^ 








^ 




^ 






^ 




^ 




^ 




^ 


i 




^ 




^ 




^ 





Unless the pieces are all made of exactly the 
same thickness, the squares 
will not meet exactly, and 
the tm^ned piece will not look 
well when finished. 

The joints must be very 
perfect, or they may open 
after the piece has been 
finished. This blank is then 
Fig. 213. Combining Woods, turned in the lathe to some 
shape that will show the combined woods to the 
best advantage. Fig. 214 is an illustration of a 
goblet made in this manner. 

Another method is to select 
a piece for the central portion 
and glue to it such shaped 
pieces as are desired. The 
pieces may be of almost any 
shape or size, 
but should 
be in pairs 

or groups, so '"'S-"^- P^^yf^^^kt. 
that the object, after being turned, 
will show a well defined pattern. 
In all this work, be very careful 
to have the pieces of exact size 
Fig. 215. Fancy Box. and their surfaces in perfect con- 
tact. In the box, Fig. 215, the small pieces were 
glued around a central piece. 




i 


,,..,.;,.^, -^ 



ELEMENTARY TURNING 



143 



NUMBER XX 

DESIGNS FOR GOBLETS 

Although the wooden goblet is 
more ornamental than useful, yet as 
a turning exercise, it is quite valu- 
able. The following designs will 
suggest many others. 




Fig. 216. Goblet. 



twm 




Fig. 217. Goblet. 





Goblet. 



Fig. 219. Goblet. 



144 



ELEMENTARY TURNING 



NUMBER XXI 




KNIFE AND FORK REST 

This article is a very good exercise to illustrate 
the use of a templet. Read what is said in Part 2 

in regard to the 
making of temp- 
lets, and make one 
for the piece you 

Fig. 220, Knife and Fork Rest. are about to turn. 

If you have any doubt in regard to the size which 
you will be able to make from the blank, turn it to. 
a cylinder and space it, as shown in Fig. 221, and 
then calculate the 
sizes for the templet. 
Rough the piece 
so it will nearly fit 
the templet, using -^*>- ^^^- Rest Blocked Out. 
the roughing gouge in the center (Figs. 20 and 78), 
and chisels on the balls (Figs. 23, 33, 53, and 54). 
Finish the piece by scraping (see Figs. 127, 128, and 

211). 

As the scrap- 
ing will tear the 
wood, unless the 
Fig. 222. Using a Templet. chisel is very 

sharp and is cutting but a very little, you will need 
to work carefully and keep your tools very sharp. 





ELEMENTARY TURNING 145 

If when the piece is fitted to the templet there is 
yet torn grain, the smoothing of it will injure the 
shape of the piece. Hold the templet as shown in 
Fig. 222. Do not press it against the work while 
in motion. 

You must also be very careful about the sand- 
papering or it will change the curves so that they will 
not be correct. In trimming the ends you must 
also allow for smoothing with coarse sandpaper, 
or there will be a flat place made which will seriously 
injure the appearance of the balls. 



NUMBER XXII 
PIN TRAY 

The making of the pin tray illustrates a method 
applicable to the making of many small articles. 

The reason for using a 
spur chuck. Fig. 275, in- 
stead of a screw chuck or 
of gluing a piece to the 
chuck with paper between, 
is to save time and trouble. 

See that the blank has 
been sawed nearly to size 
before placing it on the 
chuck (Fig. 224). Turn 
the edge and a little of Fig. 223. Pin Tray, 




146 



ELEMENTARY TURNING 



each surface near the edge with the tee rest set as 
in Fig. 225. Use the tool as in Figs. 125 and 126. 

Before sandpapering the 
edge, set the rest as in Fig. 226, 
and turn nearly all of the inside, 
using the tools, as in Figs. 126, 




of 




Pin Tray Blank 
on Chuck. 

127, and 128. Remove 
the rest, and then sand- 
paper and polish the 
edge and a little 
each side. 

After the edge has ^'^' ^^^"- ^^'^ ^^«^' ^'^^e Turned. 
been poUshed, place the piece in a chuck, as shown 
in Fig. 227, and then finish the bottom. The last 

-, step is to reverse the piece 
in the chuck and finish the 
center and the inside. 

If the edge is marred 
while in the cup chuck, the 
tray may be placed on the 
spur chuck, using the small 
holes as at first, and then 
Fig.226. Pin Tray, Inside Turned, refinish the edge. A block 




ELEMENTARY TURNING 



147 




should be placed between the 
end of the dead- center and 
the finished inside surface. 



NUMBER XXIII 



TURNED FRAMES 



' Fig. 227. Pin Tray in 
Cup Chiick. 



Frames, either square, as 
shown in Fig. 228, or round, as shown in Fig. 229, 
may be turned on the face-plate. They should be 
securely fastened by using four screws the same as 
in securing 



the wooden 










facing for the 










screw^ chuck, 










Fig. 268, the 










candlestick 








k 


base. Fig. 




A 




Ik 


195, or the 


i 


M 




1^^ 


blank for 




^ 




Wmf 


the molding. 




1 


km'^H^^^^BP 


Wr 


Fig. 259. 








S m e - 








tr 


times frames 


i ,. 




^^^^fets**- ■* ''^^3sf 




are held only 






:.>:^" 




by a central 


i.,, 




-* 




screw the 


Fig. 


228. 


Square Frame. 





148 



ELEMENTARY TURNING 




same as the rosette (Fig. 125). This will be sufficient 

to hold them, if 
care is exercised 
in doing the turn- 
ing. For the first 
attempt you had 
better use the 
four screws. 

If the frame is 
to be square, it 
should be of an 
even thickness 
before placing it 

Fig. 229. Round Frame. on the chuck, SO 

that there will be no need of doing more work with 
the turning tools than to cut the circular opening. 

If the blank is so 
large that the screws 
from the holes in the 
iron face-plate would 
enter the part which 
is to be cut out, first 
fasten to the face-plate 
a larger wooden facing, 
and then secure the 
frame to this, as in 
Fig. 230. 

Be very careful in 
placing the frame on Fig. 230. Frame Blank on Fafie-pkite. 









1 

1 dt— 


f: 



ELEMENTARY TURNING 



149 



the chuck so that the opening can be cut from the 

center. A good 

way to center the 

piece is to locate 

the center by either 

of the methods 

shown in Fig. 2 

or 3. 

Place the face- 
plateon the 
spindle, and crowd 
the blank for the 
frame against it by 
moving the tail- 
screw against the 
center of the blank. 




tig. 



23 L 




Fig. 



Using Gouge on Frame, 



Using Gouge on Frame. 

Mark the position 
of the blank, and 
after removing the 
face-plate from the 
lathe, fasten the 
blank to place with 
the screws. Fig. 
230 shows the 
blank in place and 
the diagonal lines 
used in locating 
the centers. It 
also shows the 



150 



ELEMENTARY TURNING 



small center made at the intersection of the lines 
by the end of the dead-center. 

The opening should be worked with the gouge, 
holcUng it as shown in Figs. 231, 232, and 233. First 
hold the gouge as in Fig. 231, being careful to roll 
it so that it will not run towards the outside edge of 
the frame. The principle which governs its action 
is the same as in starting the cove (Fig. 47). If the 

cutting edge lies in the 
circle, it will not tend 
to run either way, but 
will cut freely and 
rapidly. 

After starting the 
opening at the outer 
edge, reverse the gouge 
and cut from the 
center, as in Fig. 232. 
Do not remove a 
Fig. 233. Using Gouge on Frame. larger amount of ma- 
terial than is needed to form the curve; the remain- 
ing waste material at the center will fall out as the 
gouge cuts through to the chuck. 

After the opening has some depth, the gouge 
may be held at a greater angle, as shown in Fig. 233. 
If you are careful to hold the gouge properly, the 
curve will be shaped in a very few minutes. 

Be very cautious to keep your hands and cloth- 
ing away from the corners of the revolving piece. 




ELEMENTARY TURNING 



151 



After the frame has been shaped with the gouge^ 
finish the curves with the scraping tools (Figs. 102 
and 128). Do not touch the surface, which is to 
remain flat, with any of the lathe tools. 

After the center has been removed, and the curve 
properly finished by scraping, sandpaper the curve. 
Do not allow any sandpaper to touch the flat face. 
Remove the tee rest, and then hold the sandpaper 
as shown in Fig. 234. By 
holding one hand with 
the other, you will avoid 
the danger of your hand 
slipping and being hit by 
the corners of the frame. 
Entirely finish the turned 
parts before removing the 
frame from the face-plate. 

The opening may be 
cut only a part of the 

way through, and the Fig. 234. Using Sandpaper on 
." , 1 111 Frame. 

mirror or picture be held 

in place by using a small reed, as shown in Fig. 228; 
or it may be cut entirely through, and the picture or 
glass placed against the back, as shown in Fig. 229. 
If a space at the back is desired, first secure the 
frame to the face-plate with screws, passing into the 
waste material. After the back opening has been 
finished, reverse the piece, and work from the face 
side. An easy way to center the piece for reversing 




152 ELEMENTARY TURNING 

is to bore a small hole through the center, and with 
the dead-center in this hole, force the piece to place. 
After the piece has been removed from the face- 
plate, finish the face and edges by using plane, 



Fig. 235. Square Frame, Finished. 

scraper, and sandpaper, and then polish the same 
as the turned part. The round frame (Fig. 229) 
is made in the same manner, except the edge which 
is turned the same as the rosette (Figs. 125 and 126). 



ELEMENTARY TURNING 153 

The face also may be. finished in the lathe. 
There will then be no hand finishing to do after the 
frame is removed from the lathe. It is better to 
finish the flat surface parallel with the grain of the 
wood, after removing the piece from the lathe. 



NUMBER XXIV 

CHAIR LEGS 

Fig. 236 illustrates a typical form of chair leg. 
The principles involved in turning chair legs do not 
differ any from those learned in turning the first 




Fig. 236. Square-topped Chair Leg. 

twenty exercises. Fig. 237 shows the general ar- 
rangement of the lathe for turning long work, and 
also the position of the hands and the body. 

In roughing long pieces, it is usually best to 
begin near the dead-center and turn down but a 
little at a time, as shown in Fig. 238. Each time 
begin a little farther to the left, and finish a little 
of the cylinder at the right. 

Fig. 239 shows the method of working the pattern. 
First, turn the piece to the general outline, then 



154 ELEMENTARY TURNING 




Fig. 237. Position in Roughing Long Piece, 



ELEMENTARY TURNING 



155 



begin at the end, usually at the top end, and work 
out the pattern. 
The completed 
leg is shown in 
Fig. 236. 

Fig. 240 shows 
a design in which 
there is a square 
part to receive 
the rungs. For 
such legs the F'^9- ^^8. Roughing Gouge on Long Piece. 
rungs or rails should be of rectangular section. 





Fig. 239. Chair Leg Outlined 

It - * V. 




Fig. 2Jfi. Chair Leg with Square Section, 




Fig. 241. Chair Leg. 

Fig. 241 shows a typical form of leg for use in 
wood bottom chairs. The number of rungs used 
must be considered in determining the pattern. 



156 



ELEMENTARY TURNING 



NUMBER XXV 

CHAIR RUNGS AND SPINDLES 

The lighter parts of chairs, such as rungs or 
stretchers and spindles are somewhat difficult to 
turn, because they spring so easily. To avoid the 



Fig. 242. Chair Rung. 

springing, first turn the piece to a cylinder the entire 
length (Fig. 243), and then turn the center of the 
piece as shown in Fig. 244; the piece may be steadied 
by the hand as shown in Fig. 183. 




Fig. 243. Chair Rung Roughed to a Cylinder. 

Finish the ends, turning the parts for the tenons 
to near the finished size. Hold the sizer as shown 
in Fig. 245, and size the tenons. If the piece tapers 



Fig. 244- CJiair Rung Center Turned. 

to the tenon, it will be necessary to finish down 
to the tenon with the skew chisel after using the 
sizer. 



ELEMENTARY TURNING 



157 



If the live-center is larger than the finished size 
of the tenon, there will be a small stub as shown in 
Fig. 242. This must be 
split off with a knife after 
the piece has been re- 
moved from the lathe. 

In planning the design 
for a rung or spindle, be 
very particular to avoid 
any deep cuts near the 
center ^^^' ^^^' ^^'^^9 ^^^ Sizer. 




Fig. 246. Spindle. 



Fig. 24.7. Plain Spindle 

Figs. 246 and 247 show two styles of spindles. 
The same general plan is followed in turning them 
as in turning the legs and the rungs of a chair. 



NUMBER XXVI 

FOOTSTOOL LEGS 

In designing footstool legs as in all other design- 
ing, try to have a fair idea of the form which you 
wish to make before commencing to shape the 
material. 



158 



ELEMENTARY TURNING 




You should, if possible, have a sufficiently definite 

idea of the 
design you 
are to make 
to allow of 
first outlining 

Fig. 24.8. Foot tjol Leg. oize of s.ock !{ inches 

square by 8 inches long. tlie piece, aS 

shown in Fig. 
249. 

The next 
step is to turn 
each end as 

shown in Fio" ^'^^- ^^^- ^^^^^ ^^^'P ^^ Turning Footstool Leg. 

250. This 
method- will 
help you to 
proportion 

Fig. 250. Second Step in Turning Footstool Leg. the various 

parts. Finish by turning the long curve, completing 
the design, as shown in Fig. 248. 





NUMBER XXVII 

DESIGNS FOR FOOTSTOOL LEGS 

Figs. 251, 252, and 253 suggest a variety of 
patterns for footstool legs. See also Figs. 236, 240, 
248, and 254. 



ELEMENTARY TURNING 159 

Do not attempt to copy any of them, but study 
carefully each one, and then work out a design of 
your own. Remember that good designs are usually 
simple, and that a few elements properly combined 
are far better than many carelessly brought together. 





Fig. 251. Fig. 252. Fig. 253. 

Footstool Legs. 

One of the facts most difficult to realize in turn- 
ing is, that a very slight change in a curve, or in the 
proportion of parts will change a piece from ugliness 
to beauty. In working out a design at first use a 
wood easily turned. Pine or basswood is probably 
the best wood to use. You can usually begin at 
the end nearest the live-center and make this end 
the- top end of the leg. 



160 



ELEMENTARY TURNING 



Unless there is some good reason for doing dif- 
ferently, follow the general plan described in turn- 
ing Fig. 248. 

Unless you are more successful than most turners, 
you will need to try several times before making a 
good original design. All designing of similar shaped 
pieces follows this general plan. After you have 
completed the design and know exactly what 
shape you wish, you can plan such an order in the 
use of tools as will result in the greatest speed. 



NUMBER XXVIII 



FOOTSTOOL 



Fig. 254 illustrates a footstool completed, except 
the upholstering. The length of the side rails as 

well as the 
height of the 
legs may be 
changed to suit 
individual 
requirements. 
Figs. 248 to 
253 show vari- 
ous styles of 
legs which may 
be used for 

Fig. 254. Footstool. footstools. 




ELEMENTARY TURNING 



161 



The dimensions of this stool are : Legs, 2i inches 
square by 12 inches long; side rails, | inch by 3i 
inches by 12 inches between the legs. 

The ordinary turning stock. If inches square, 
is large enough for most footstool legs. The length 
may be anything from 8 to 16 inches. Footstools 
should not be higher than they are wide. 



NUMBER XXIX 
TURNED PIANO STOOL 



The usual sizes 
for such a stool are : 
top, 14 inches in 
diameter by If 
inches thick; legs, 
If inches in diam- 
eter by 19 inches 
long, to the under 
side of the top. 
As they enter the 
top 1 inch, the 
stock should be 20 
inches long. The 
rungs are made 
from J-inch square 
stock and are 10 
inches below the Fig. 255. 




Piano Stool. 



162 



ELEMENTARY TURNING 



under side of the top. The distance between the legs 
at the rungs is 8 inches, making the total length of the 
rungs 10 inches. The holes in the top for the ends 
of the legs are bored in an 11-inch circle with a |-inch 
bit. This should make the diagonal distance on the 
floor between the centers of the legs about 16 inches. 

First, turn a pattern for a leg in soft wood or a 
cull piece. If you wish to make a very fine piece 
of furniture, polish every part in the lathe. 

In fitting the parts together be very careful not 
to injure the finish. Blocks of soft wood, shaped 
to fit the turning, will aid much in holding the legs 
while boring the holes for the rungs. Study the 
design carefully and see if you can improve upon it. 




Fig. 256. Turned Stool. 



NUMBER XXX 
TURNED STOOL 

The top of this stool is 
14 inches in diameter by 
If inches thick. The legs 
are but 18 inches long, 
which includes the 1-inch 
tenon entering the top. 
The crosspieces are lOJ 
inches above the floor, and 
the legs are lOJ inches 
apart from surface to sur- 
face at this point. 



ELEMENTARY TURNING 163 

The holes in the top are bored in a lOJ-inch circle. 
Read the description of No. 255, and compare it 
with this stool, and then work out a new design. 



NUMBER XXXI 

GROUP OF FANCY TURNINGS 

These designs may be used for suggestions or in 
place of those given in the text. 




Fig. 251. Group of Fan.y Turnings. 

NUMBER XXXII 

TURNED MOLDING 

Sometimes it is necessary to make circular 
pieces of molding to be used at rounded corners or 
at semi-circular ends. This is done by turning a 



164 



ELEMENTARY TURNING 



complete circle, and then cutting from it such seg- 
ments as are required. 





Fig. 259. Blank for 
t ig. 258 Turned Molding. Turned Molding. 

Fig. 259 shows a piece of |-inch board secured to 

a face-plate. No 
attempt has been 
made to make the 
blank a true circle 
before placing it 
in the lathe, for 
the rough corners 
of this octagonal 
shaped piece of 
soft wood can be 
cut away quite 
easily in the lathe. 
As the diameter 
of the circle is 




Fig- 



Molding Segments, 



greater than the 



ELEMENTARY TURNING 165 

diameter of the iron face-plate, a wooden facing is 
attached, so that the screws will enter the part of 
the wood that is to become the molding. If the 
screws were to enter the waste material, you could 
not finish the inner edge of the molding. 

Adjust the rest, and turn the outer edge as in 
working the rosette (Lesson 30). Turn the inside 
of the circle, as in making the frame (Fig. 235). 

After the molding has been finished, as in Fig. 
258, it may be cut into such pieces as are required. 

Fig. 260 shows one section for a rounded end, one 
for a rounded corner, and one to connect parts at 
an angle of sixty degrees. 



TOOLS AND FITTINGS 

PART III 

INTRODUCTION 

This part describes such tools and materials as 
are required for the work in this course, except such 
tools as the pupil has become familiar with in his 
use of the author's previous publication, entitled 
Elementary Woodwork. 

Work at the bench in every case should precede 
the study of turning. There are many points about 
the use of tools which must be understood in order 
to do turning properly, and which can be learned 
much better by working at the bench. 

The number of tools described is the minimum 
rather than the maximum number which may be 
used in wood turning. For doing the work on 
supplementary and fancy pieces, many special tools 
might be used. The use of these tools, however, 
requires no additional instruction, as they are only 
modifications in form of those described and used in 
the various examples which have been given. One 
who has executed all of the models illustrated in 
Parts 1 and 2 should understand how to proceed in 
turning any but the most difficult work. 



168 ELEMENTARY TURNING 

The materials for finishing are properly limited 
to the least number possible. Those who desire a 
larger variety of finishes should consult a work 
devoted entirely to finishing and polishing. 

ARBORS 

For the ordinary work of a wood-turning lathe 
only the simple wooden arbor is required. Such 
arbors are shown in use in Figs. 163, 172, 174, and 
206. They should be made of bits of waste material. 
Usually they are of hard wood, yet for such uses as 
holding of rings for re-polishing, soft wood may be 
used. 

Be sure to force the arbor on to both centers far 
enough to hold it from slipping on the live-center. 
The marks at each end should be large enough to 
permit the arbor to be removed and replaced in 
exactly the same position. Do not forget to mark 
it as indicated in Figs. 9 and 10. 

In fitting the arbor to the work, make the taper 
so slight that there will be a firm bearing nearly the 
whole length of the hole. Avoid jamming the ends 
in forcing . the work either on or off of the arbor. 
Arbors should be carefully made, and kept for 
future use, 

CALIPERS 

Fig. 261 illustrates one form of outside calipers, 
and Figs. 58 and 132 show how the outside calipers 



ELEMENTARY TURNING 



169 



are held. 




Fig. 261. Outside 
Calipers. 



a screw 
to use. 



Fig. 262 illustrates inside calipers. 
263 shows how 
the inside cali- 
pers are held. 

There are 
many styles of 
these very useful 
tools. The chief 
difference is that 
some have a 
device for fine 
adjustment, and 
others do not. 
Those having 
adjustment are better for the beginnei 




Fig. 262. Inside 
Calipers. 




Fig. 263. Using Inside Caliper 



170 



ELEMENTARY TURNING 



If the points are sharp, they may catch in the 
wood, and, therefore, they should 
be rounded, as shown in Fig. 264. 
If the ends are not rounding, do 
not attempt to use them while the 
lathe is in motion. 




Fig. 26 Jf.. Caliper 
Ends. 



CHISELS 



The turner's chisel, called the turner's skew 
chisel, and shown in Fig. 265, is used on nearly every 
piece of work. It differs from the common firmer 



Fig. 265. Skew Chisel. 

chisel by having a bevel at each side, and the cutting 
edge at an angle. Fig. 266 indicates the shape of 
the cutting edge. 

Turning chisels are much heavier than the common 
bench chisels; and there is 
no bolster at the end of the 
handle to prevent it being 
driven too far on to the chisel. 
Turning chisels are usually 
made in sizes from J inch to 
2 inches, but for ordinary 
light work a J-inch, a J-inch, 
and a 1-inch chisel are suffi- 
cient. The shape and angle 




Fig. 266. Cutting End of 
Skew Chisel. 



ELEMENTARY TURNING 171 

of the cutting edge has much to do with the ease 
with which the chisel is used. 

Great care should be taken in grinding and 
whetting these tools. Unless the grindstone is 
quite true, it is useless to attempt to grind such 
chisels, except by holding them free-hand, as shown 
in Fig. 267. 




Fig. 267. Grinding a ISkew Chisel. 

To hold them free-hand is not difficult. One 
hand bears them against the stone, and the other 
hand holds the blade at the proper angle. 

This is done by a combination of two move- 
ments. The hand may be raised or lowered, or it 
may revolve the chisel handle. 

By watching the flow of water past the tool, and 
by frequently removing it to see where the stone is 



172 ELEMENTARY TURNING 

cutting, you may soon learn how to grind a skew 
chisel properly. 

Do not be satisfied until the cutting edge is 
straight from the acute to the obtuse angle, and 
both angles of a correct size. The two bevelled 
surfaces should also be perfect. If there is any 
roundness near the edge, it will hinder the chisel 
from resting properly on the work, and render it 
much more liable to catch and injure the piece. 

In whetting the skew chisel, keep the surface as 
near true as possible. Do not form another angle 
with the oilstone, as in whetting the carpenter's 
chisel. The skew chisel is for cutting, and should 
not be used as a scraping tool. This, however, is 
done sometimes because no other chisel is at hand. 
Chisels for scraping are called scraping tools, and 
are described under that head. 

CHUCKS 

There is scarcely any limit to the number of 
styles and sizes of chucks which can be used for 
wood turning. For elementary work only a few 
are required. 

The screw chuck, as shown in Fig. 268, is the one 
most often used. The spur chuck (Fig. 275) is very 
handy for some work. Other styles, except the 
wooden cup chucks which are often used as shown 
in Figs. 165, 168, 169, and 227, may be dispensed 



ELEMENTARY TURNING 



173 



with for all ordinary work. The cup chucks are 
very simple appHances, being merely blocks of 
wood, secured to a face-plate, and hollowed out to 
receive the work. 

SCREW CHUCK 

There are many kinds of screw chucks. The 
beginner can easily do all his work with the common 
style, such as is shown in Fig. 268. This chuck is 
made by attaching a piece of wood to the ordinary 
face-plate and securing a common wood screw at 
the center, as 
shown in Fig. 
274. Hardwood 
is better for the 
facing. 

It should be 
securely fast- 
ened with at 
least four screws 

to the iron face- Fig. 268. Screw Chuck. 

plate, and turned smooth at the circumference, so 
that the hands will not be liable to be injured by it. 
Do not use any sandpaper on it. Figs. 269 and 270 
show how the gouge is held in turning the edge. 
Figs. 125 and 126 show the gouge in use for similar 
work. The character of the piece will usually deter- 
mine whether the gouge should first cut from the 
right or from the left. 




174 



ELEMENTARY TURNING 



Turn the face of the piece exactly true, testing it 

with a straight 
edge. The 
roughing gouge 
should be used 
at first, and held 
as shown in Fig. 
•271. 

The final 
smoothing 
should be done 
with a scraping 
chisel, as shown 
in Fig. 127. If 
no scraping 
chisel is at hand, 
a skew chisel 

Fig. 269. Turning an Edge with Gouge. may be USed for 

the scraping. Unless the face is exactly straight, 
the blocks when screwed 
against it may not remain 
in place. 

Find the center, as shown 
in Fig. 272. By placing the 
point of the skew chisel near 
the center, a small circle will 
be made; and b}^ gradually 
moving the point towards the 
center of the circle, a place 





Fig. 270. Turning an Edge 
with Gouge. 



ELEMENTARY TURNING 



175 




will be found where no circle is made. This will be 

the center, and the point of the chisel should make a 

small hole in which to 

place the spur of the bit. 

Bore a hole just large 

enough to fit the shank of 

the screw. Use the method 

shown in Fig. 273. Place 

the bit, and then carefully 

start the lathe. Mark the 

piece so that you can put 

it back in the same place, 

and then remove it from 

the iron face-plate. 

Countersink a place 

just deep enough to bring the surface of the screw 

head flush with the wood. 

Drive a finishing nail into the wood at the end of 

the slot in the screw 
head and bend it over, 
as shown in Fig. 274. 
If the nail is too large 
to go into the slot, 
hammer it flat near the 
center before attempt- 
ing to drive it. 

Return the wood to 
its place on the iron 

Finding the Center, plate, and you have 



Fig. 271. Turning the Face 

with Roughing Gouge. 




176 



ELEMENTARY TURNING 



the best kind of a screw chuck for general work. Be 
careful to turn each screw until it is just tight; for, 
as they may be several times removed and again 




Boring with Bit. inserted, any over- 

straining will spoil 
the holes in the wood. 
If you are careful 
to put grease in the 
holes each time the 
screws are to be in- 
serted, the wood will 
not wear out so 
quickly, and the 
screws will hold 
Fig. 274. Back Side of Wooden Facing, stronger. 




ELEMENTARY TURNING 



177 



SPUR CHUCK 

Pieces of some shapes that cannot be screwed on 
to the screw chuck can be held on a spur chuck 
(Fig. 275). This chuck is simply a wooden facing, 
having two or more short spurs in its face side and 
secured to an iron face-plate. The piece to be 
worked is forced on to these spurs, and held against 
them by the tail-stock, as shown in Fig. 224. While 
in this position, the 
edge and nearly all of 
one side can be fin- 
ished. The spurs do 
not usually project 
more than J inch, and 
yV inch is sometimes 
sufficient. They may 
be of any desired 
number, and should 
be firmly driven into Fig- 275. Spur Chuck. 
the facing, so that they will not be pressed deeper 
into the facing, when pieces to be turned are forced 
against them. 

The spurs may be made of wire nails by driving 
the nails into the facing from the face side, and then 
cutting them off and filing them sharp. For heavy 
work the nails may be driven in from the back side, 
and their heads left to rest against the iron face- 
plate, so that forcing pieces on to their sharpened 
ends will not move them. 




178 ELEMENTARY TURNING 

COMPASSES 

The plain compasses, shown in Fig. 276, are 
sufficient for much of the spacing work in turning. 

At times the wing compasses, used by joiners, 
are better. If one set is to be used for both joinery 




Fig. 276. Plain Compasses. 

and turning, those having the fine adjustment should 
be procured. 

The use of the compasses in marking off spaces 
is shown in Fig. 81. 

DEAD-CENTER 

The dead-center should be of hardened steel 
and shaped as shown in Fig. 277. 

The central point should be removable so that 
it may readily be replaced if broken. The rim and 



Fig. 277. Dead-center, 

cup surface should be very smooth and bright. It 
should be forced to place at the same time the blank 
is forced on to the live-center, and therefore, no 
hammer or mallet should be used in placing the 
work in the lathe. 



ELEMENTARY TURNING 



179 



FACE-PLATES 

Face-plates are usually of the form shown in 
Fig. 278. See also Fig. 269. These screw on to the 
outside of the end of the lathe 
spindle. 

Fig. 279 illustrates a style 
which is fastened to a plug, 
which is tapered to fit the 
hole in the end of the live 
spindle. For small work the 



Fig. 278. Face-plate. 

latter style is better, be- 
cause it allows the screws 
Fig. 279. Small Face-plate. ^0 be arranged on a 

smaller circle. Such an arrangement is not so 
strong as the first form, but it is quite essential for 
some work. 





GAUGES 

For determining the horizontal distances on 
work in the lathe, many forms of gauges and templets 
are used. For most 
work, when but a 
few pieces of a kind 
are to be turned, a 
rule and a pencil 




Fig. 280. Gauge. 



180 ELEMENTARY TURNING 

(Fig. 19) or a rule and a chisel point (Fig. 31) are 
sufficient. 

One of the most common forms of gauges for 
use in turning is shown in Fig. 280 and in use in 
Fig. 36. 

These gauges may be made of various styles, 
either from the drawings or from the model piece. 

The edge of the stick or bar may correspond 




Fig. 281. Chair Leg Gauge. 
with the general outline of the pattern, as shown 
in Fig. 281. 

After the bar has been shaped, drive brads or 
nails into the edge. Be careful to place each one 
exactly opposite the point which is to be lined. 
Cut off the heads and adjust each one to length. 

By making the spurs of the correct length they 
may help to indicate the size, as their points may 
be made to cut each time to the same depth. File 
the spurs to a wedge-shaped point, being careful 
that the point is in exactly the correct place. The 
points may be sprung with a hammer, but are liable 
to gradually spring back. See that they are driven 
well into the wood, for the revolving of the work 
against them tends to move them. 



ELEMENTARY TURNING 



181 



Unless there are many pieces of a kind to be 
turned, it is better to use the pencil and rule, or 
compasses rather than to take the time to make 
a gauge of this kind. 

Often a wooden tee rest is used and the pattern 
marked on its edge so that no other measuring is 
required. 

GOUGES 

Fig. 282 illustrates an ordinary turning gouge. 
The curve at the cutting edge varies greatly for use 
in different kinds of work. The end is shown from 
different angles in Figs. 44, 47, 126, and 232. 



Fig. 282. Turning Gouge. 

Figs. 40 to 44, 53, 92, 111, 114, 116, 120, 125, 126, 
170 show the turning gouge in use. 

Turning gouges may be ground square across 
and used for roughing, but usually a firmer gouge 
(Fig. 283) is used for this purpose. For ordinary 




Fig. 283. Firmer Gouge. 

work the firmer gouge is strong enough; and because 
the metal is thinner, it is much easier to keep it in 
order. 



182 



ELEMENTARY TURNING 



The roughing gouge is shown in use in Figs. 13, 
20, 78, 100, 113, 238, and 271. The grinding of 
gougies is not an easy task. Their cutting edges 
shoukl be free from all roughness, and their curves 
regular throughout. 

In order to produce such an even edge the gouge 
shoukl be held on the grindstone as shown in Fig. 




Fig. 284. GrinduKj a Gouge. 

284. The angle of the basil side is determined by 
the position of the right hand. By rolling the hand, 
the grindstone is made to cut at any part of the 
curve. Do not attempt to grind the tool to an edge 
at one point, and then roll it a Uttle in order to 
grind at another place, but rather keep the gouge 
rolling from one edge to the other edge. 



ELEMENTARY TURNING 



183 



In grinding the turning gouges, the handles will 
need to be lowered and raised as well as rolled. If 
there are any thick places that require more grinding 
than others, do not stop the gouge at these places, 

but rather do not roll it so 
rapidly. This carefully 
done, will result in a very 
even curve. 





Fig. 285. Whetting a Gouge. 

The rapid passing of 
the shavings over the 
cutting edge wears it 
quite rapidly, and there- 
fore the inside as well 
as the basil side of the 

gouge is worn. This ^'^ig- ^86. Using a Slip Stone. 

makes necessary the grinding back of the edge a 
Uttle in order to make the inside edge straight. 

After the gouges have been ground, their edges 
should be smoothed by rubbing an oilstone on them, 
as shown in Fig. 285. 



184 ELEMENTARY TURNING 

The stone may be held on the bench and the 
gouge rubbed on the stone. Whichever method is 
employed, the movement must be such that the 
stone moves along the edge at every stroke, so that 
the edge is sharpened evenly. 

To remove the wire edge, a hard Arkansas slip 
stone is used, as shown in Fig. 286. This stone should 
be rubbed towards the edge at the same time it is 
given a side movement, causing it to come in con- 
tact with the entire cutting edge. This stone may 
be used on the basil side as well as the straight side. 
This stone should produce so fine an edge that no 
leather strop will be required. Remember that in 
whetting turning tools, the changing of the angle 
soon necessitates regrinding. By being careful 
about the whetting, you can save much time in the 
grinding. 

LATHES 

Fig. 287 illustrates a modern all-metal lathe for 
wood turning. Such lathes may be adapted to the 
working of brass and soft metals. 

In elementary turning, all you have to deal with 
is the adjustment of the tee rest and the tail-stock; 
the changing of the belt to a suitable speed, and the 
exchanging of the live-center for face-plate, or 
vice versa. 

Your lathe may not be exactly like the one shown 
in the picture, yet all woodworking lathes for hand 
turning are similar. The one shown in Fig. 288 is 



ELEMENTARY TURNING 



185 



quite equal to an all-metal lathe for many kinds of 
work. By comparing the two you will notice that 
the cones are not placed alike, and also that the oil 
holes are not in the same position. Fig. 288 shows 
the parts of the lathe except the wooden bed or 




A Set Screw. B Tee Rest Stand. C Cone Pulley. D Dead-center. 
E Clamp Handles. F Face-plate. H Clamp Screw. I Crank Handles. 
L Live-center. O Oil Holes. S Shoe. T Tee Rest. 

shears. The long bolts are for securing the head- 
stock, tail-stock, and rests to the bed. Two tee-rest 
stands are shown. There is also a double tee rest 
for long work. In elementary turning there is so 



186 ELEMENTARY TURMING 

seldom need for a long rest that usually none is 
provided and instead, two short ones are set side by- 
side as shown in Figs. 239 and 243. The lathe shown 
in Fig. 287 has an oil cavity under the bearing, so 
arranged that the oil is fed up to the bearing as 
required, and hence a quantity of oil is put into the 



reservoir once in 


a long time. 




IKWHIh 




M 


^ 






w^5 




^ 


£•-8^? 


pMIp 



Fig. 2S8. Wooden Bed Turning Lathe. 

Most lathes are oiled as shown in Fig. 288, and 
require oiling once or twice for every ten hours of 
running. Watch your lathe bearings by touching 
them with your fingers, and if they are hot, report 
it to the instructor. Sometimes all that is required 
to cool them is a few drops of oil, but at other times 
it is necessary to adjust the boxes. You should not 
attempt to make any adjustments of the bearings 
unless you are sure that you will do no harm. 



ELEMENTARY TURNING 187 

OILSTONES 

The oilstones used for sharpening lathe tools do 
not differ from those used in sharpening joiners' 
tools. Both should cut freely and smoothly. If 
the tools are rubbed on a strop after whetting, the 
edge will be made smooth, and it will cut better. 

Gouges are not easily rubbed on a strop, and, 
therefore, a very hard ^..^ps?^^^.^.^;^.,.^-.^,,^-^^ 
stone is used to remove yf'?;v';. ';'';?'*'";•:' "V:.. " "'^F 
the wire edge, and give ^ ' ' ^ i aai^fi ""y ^ '' ^^^^«>^^^^ 
the smoothness re- ^^9-^89- Oilstone Slip 
quired for fine work. Such stones are usually shaped 
as shown in Fig. 289, and are called oilstone slips. 
They vary greatly in size. For sharpening ordinary 
turning tools, use a slip about 3 inches long by IJ 
inches wide. 

The grade known as hard Arkansas is excellent 
for school use. These stones are very brittle, and 
should be used with care. Use oil on them the 
same as on the India oilstone, used in the wood shop. 

PARTING TOOLS 



Fig. 290. Parting Tool. 

The parting tool, shown in Fig. 290 and in use in 
Figs. 106, 110, and 122, is for cutting deep recesses 
or for cutting pieces in two. Its work is always 



188 ELEMENTARY TURNING 

rough, consequently its use is limited. It cuts 
rapidly, but always roughly, and therefore saves no 
time, except when the surface being cut is not 
required to be smooth. 

It should be held with the point or cutting edge 
directed towards the line of the lathe centers. 
Usually it should be made to cut a space wider than 
itself by being moved a little from side to side. 

SCRAPING TOOLS 

Fig. 291 shows an ordinary right-hand scraping 
tool which was made from a worn-out turning chisel. 




Fig. 291. Scraping Tool. 

Fig. 292 shows the shapes of the ends of the 
ordinary scraping tools. They may be of any shape 
required to fit the work. They may also be crooked 

nor bent to reach into obscure 
interior curves. They should 
never be used when a cutting 
tool can be used. They are 
for finishing, and not for 
removing large amounts of 
Fig. 292. Scraping Tool Ends, material. 

Scraping tools are usually held level with the 
lathe centers, as shown in Figs. 127, 128, 198, 211, 
and 207. They are sharpened much the same as 




ELEMENTARY TURNING 



189 



ordinary firmer chisels. It is not necessary that the 
cutting angle be as small as the angle on firmer 
chisels. For making the finishing cuts they must be 
very sharp. 

Scraping tools are properly pattern-makers' 
tools, and should be seldom used in cabinet turning. 
Scraping tools, including ring tools and similar 
special tools, are usually made from worn firmer 
chisels, or short turning tools. 



RING TOOLS 



The ring 
tools shown in 
use in Fig. 198 
are special 
forms of scrap- 
ing tools. The 
hook-like ends 





Fig. 295. Section Showing Cutting 
Position of Ring Tools, 



'(.. Left-hand Ring Tool. 



may be formed by grinding 
firmer chisels, as shown 
in Figs. 293 and 294. Fig. 
295 shows the position of 
the tools while in use. A 
is a section of a part of the 
arbor, and R is a section 
of the ring, and T the ends 
of the tools. As these are 
light tools, they should be 
used carefully. 



190 ELEMENTARY TURNING 

SIZING TOOLS 

The turner's sizing tool shown in Fig. 296 is 
used for sizing tenons in the lathe. It is held as 
shown in Fig. 245. The place to be sized should 
be of nearly the desired dimension before applying 
the tool. This is not an easy tool to use and must 




Fig. 296. Sizing Tool. 

be held very firmly or it will cut too rapidly or catch 
and injure the work. 

The adjustment is made by loosening the thumb- 
screw and moving the hooked-shaped piece until the 
opening at the cutting point is of the correct size. 
After adjusting, it should be tested on a piece of 
waste material for it often cuts smaller than is 
expected. 

SPUR CENTER 

The spur center is a very important part of the 
lathe. It should be shaped so it will enter the wood 

easily and hold securely. The 
one shown in Fig. 297 is a 
Fig. 297. Spur Center. good design. 

The center point should be a separate piece and 
should be easily removed for sharpening or replacing. 



ELEMENTARY TURNING 



191 



The point should be of steel, but not necessarily 
tempered. 

In placing the spur center in position in the 
arbor, do not drive it with a hammer or a mallet, 
for the pressure against it in placing the wood be- 
tween the centers will be sufficient to force it tight 
enough to not shp while in use. 

The spur center should be removed by driving 
a key, made for this purpose, into a hole in the side 
of the arbor and against the end of the center. 
Some centers have a square part and are removed 
by using a wrench. 

Some lathes are supplied with several spur 
centers, but for all ordinary turning, one is sufficient. 



TEMPLETS 

Templets are thin pieces of wood or metal, so 
formed as to determine the outline of another 



c -, r. 




-,-c 



Fig. 298. Templet. 

piece. The one shown in Fig. 298 and in use in 
Fig. 222 represents the most common class. They 
may be of almost any size or shape for work within 
the capacity of the lathe. 



192 ELEMENTARY TURNING 

Fig. 298 shows a method of laying out a templet. 

First, draw line C C, representing the axis of 

the piece, from this lay out the shape required. 

After the outline has been determined, you must 
decide upon the size of the stub to be left at each 
end and cut off from each end of the templet an 
amount equal to one-half the diameters of the stubs. 
This is shown by the dotted lines at A and B. The 
large stub, A, is at the live-center. 

Be careful in drawing the lines, and work the 
templet carefully to shape, as you are not likely 
to succeed in fitting the piece to it exactly. If the 
templet is not quite correct, your piece may be very 
much out of shape. . 

In using templets, do not hold them against the 
work while it is in motion; for if you do, they will 
very soon become incorrect. 



INDEX 



Arbor ------- 119-123-124-135-138 

Back ScreAV -_-______ 127 

Base for a Candlestick ------- 134 

Base for a Hat Rest - --_____ 139 

Beaded Spindle --_-____ 69 

Bead and Cove - - _ _ _ _ _ 58-61 

Beads, Turning - _ - - 46-60-63-70-80-85-98-130 
Blank on Face-plate _ _ _ _ 139-148-164-174 

Blank on Screw Chuck - - - - 87-94-101-121-164 

Boring with Bit _______ 111-176 

Boring with Gouge _____ 87-95-123-131 

Box ________ 86-92-132-142 

Calipers ________ 63-107-169 

Candlestick ________ 133-136 

Carpenter's Mallet - - - - - - - 113 

Carver's Mallet - - - - - - - -115 

Centering Material _ _ _ _ 19-20-146-148-164-175 

Chair Leg ________ 153-155 

Chair Rung ---------156 

Chair Spindle - - - - - - - - -157 

Chisel (See Skew Chisel) 

Chuck _--___ 120-122-146-147-172 

Clamp Screw - - - - - - - • 22-185 

Cleaning Lathe ________ 16 

Combining Woods - - - - - - - 141 

Compasses ________ 79-178 

Cover ------__ 90_93_129-133 

Coves -_-_____- 51-53-55 

Cup Chuck ------- 120-122-147-173 

Curved Spindle - ^r -^ - -:r ^ =. =-81 



194 ELEMENTARY TURNING 

Curves, Turning -_--__ 36-42-46-60 
Cutting in for Square Ends ------ 7(5 

Cutting Threads --___-- 128 

Cutting with Point of Skew Chisel - - 44-51-76-89-91-120 
Cylinder ----------25 

Darning Ball - - - - - - - - -117 

Darning Hemisphere - - - - - - -118 

Dead-center _-____- 21-146-178 

Designs 

Box - ----- 86-92-129-132-142-163 

Candlestick ------ 134-136-163 

Chair Leg ------- 153-155 

Footstool Leg - - - - - - - -158 

Frame - ------- 147-152-163 

Gavel -------- 109-112 

Goblet ------- 94-97-143-163 

Hat Rest ---------137 

Mallet -------- 112-114-115 

Napkin Ring -___--- 121-124 

Equipment --------- 14 

Examining Work -_____-_ 25 

Face-plate --------- 179 

Finding the Center - - - - - - - -175 

Footstool ---------160 

Footstool Leg -------- 157-159 

Frame --------- 147-148-152 

Gauge Stick -------- 49-179 

Gavel --------- 109-112 

Glove Mender - - - - - - - - -118 

Goblet- ------- 93-97-142-143 

Gouge - - 51 to 60-83-87-99-102-123-131-149-174-181 

Gouge, Grinding and Whetting _ - _ - - 182 
Grinding- -___---- 171-182 



ELEMENTARY TURNING 195 

Group of Fancy Turnings - - - - - - 163 

Half-inch Bead ---_____ 47 

Half-inch Cove -----___ 57 

Half -inch Bead and Cove - - - - - - -61 

Half-inch Left-hand Semi-bead - - - - - 41 

Half-inch Right-hand Semi-bead - _ _ _ _ 44 

Handle ---_-__ 106-108-112-125 

Hand-screw Screws - - - - - -- - 127 

Hat Rest ----_____ 137 

Illustrations, Remarks on- - - - - - -16 

Inside Calipers - - - - - - -- 169 

Introduction to Part I - -- - - - -11 

Introduction to Part II- - - - - - - 104 

Introduction to Part HI ------ - 167 

Jointing Surfaces for Gluing ------ 133 

Knife and Fork Rest - - - - - - - 144 

Knob, Turning -----__ 93-126 

Large Box ----_____ 129 

Lathe ---------- 185 

Leather Topped Handle ------- 108 

Left-hand Semi-bead ------- 35 

Mallet ----_--_ 112-114-115 

Marking for Replacing ------- 24 

Marking Spaces --____ 32-44-76 

Molder's Rammer - -------116 

Molding Segments - - -- - - - -164 

Napkin Ring _---___ 121-124 

Oiling --------- 15-21-186 

Oilstone -_____-__ i87 

One-inch Bead _--_--__ 46 

One-inch Cove ---____- 50 



196 ELEMENTARY TURNING 

One-inch Bead and Cove -------58 

Outside Calipers ---____ 63-107-169 

Parting Tool ------___ 187 

Personal Equipment ---____ 14 

Piano Stool --__-____ i^i 

Pin Tray ----_____ 145 

Placing Shellac on Cloth -------72 

Placing Work in the Lathe ---___ 19-21 
Polishing --_____ 71-96-110-123 

Polishing Outfit -------- 74 

Porch Spindle --------- 84 

Pumice Stone --______ 69 

Rebate ------ __ 88-91 

Regulations --------- 15 

Rest Inside of Bowl --------95 

Right-hand Semi-bead ------- 37 

Ring --_-_____ 98-119-135 

Ring Tools -------- 135-189 

Rolling the Gouge ------- 33-78-83 

Rosette --_______ 101 

Roughing Gouge - - - - - - - -181 

Roughing Gouge, Use of- - - - 26 to 33-78-154-175 

Rounding a Blank _ - _ 27-78-87-94-101-146-154-174 
Rounding Corners -------- 77 

Round Frame -__-____ 148 

Rungs ---_----__ 156 

Sandpapering ------- 65-95-151 

Scraping Tools ------ 102-103-140-188 

Screw Box _-_-_____ 128 

Screw Chuck -__--_ 101-121-173 

Shellacing (See also Polishing) ----- 67-71 

Shoulder Screw - - - - - - - - 127 

Sizer --__-____ 157-190 

Skew Chisel - - 30 to 50-60-89-120-123-127-130-138-170-175 



ELEMENTARY TURNING 197 

Slip Stone ----__-__ 183 

Socket Chisel Handle ------- 108 

Spacing ------- 32-44-49-79-85 

Speed of Lathe _---_--_ 24 

Spindles ---------- 157 

Spindle with Cones ------- 62 

Spur Center ---------190 

Spur Chuck -------- 146-177 

Square Frame ------- 147-152-163 

Square-end Spindle ------- 75 

Stepped Cylinder --------32 

Stock for Turning -------- 14 

Stool (See also Footstool) ------- 162 

Stopping the Lathe ------- 25 

Tail Screw -_-___-- 21-185 
Tapered Spindle -------- 82 

Tee Rest- -------- 22-185 

Templet - - -- - -- - 144-191 

Testing the Surface _______ 25 

Threading a Wooden Screw ------ 128 

Three-eighths-inch Bead -- - - - - -49 

Three-eighths-inch Cove ------ 58 

Three-fourths-inch Cove ------ 55 

Tightening the Tail Screw ------ 21 

Tool Handles -------- 105-108 

Tray ----------145 

Turned Moulding - - - - - - - - 163 

Turned Piano Stool __--_-- 161 
Turned Stool --------- 162 

Turning Gouge 51 to 56-60-83-87-93-95-97-99-102-123-131-149- 

174-181 

Vise Handle ---------125 

Whetting a Gouge ___---- 183 

Wooden Screw _-- _____ 127 



m >2 



^90T 



